Southern  Branch 
of  the 

University  of  California 

Los  Angeles 

Form  L-l 


This  book  is  DUE  on  the  last  date  stamped  below 


iviOO 


hRII 

MAR  2  01944 

NOV  3    1961 


Natural  Music  Course 

HARMONIC 
SECOND  READER 


BY 

FREDERIC    H.    RIPLEY 

PRINCIPAL   OF   THE   PRINCE   SCHOOL,   BOSTON 
AND 

THOMAS    TAPPER 

LECTURER   ON   MUSIC   AT  THE   INSTITUTE   OF   MUSICAL  ART 
OF   THE   CITY   OF    NEW    YORK 


47204 

NEW  YORK  .-.  CINCINNATI  .-.  CHICAGO 

AMERICAN    BOOK    COMPANY 


Copyright,   1903,  bt 
FREDERIC    II.   RIPLEY  and  THOMAS   TAPPER. 

Entered  at  Stationers'  Hall,  Loiidon. 


Harmonic  Second  Reader. 

E-p    5 


PEEFACE. 


Each  book  of  this  course  makes  an  addition  to  the  child's  available 
supply  of  art  material  which  is  actually  definite  in  quality  and  in  quantity. 
The  things  to  be  done  are  perfectly  simple  and  entirely  easy  in  them- 
selves, and  yet  the  resulting  possibilities  are  almost  infinite.  It  is  as  if  a 
new  color  were  added  to  a  child's  paint  box,  which  in  itself  were  as  simply 
and  as  easily  managed  as  any  of  its  fellows,  but  capable  of  being  com- 
bined with  them  separately  and  in  any  grouping,  so  that  the  addition  of 
this  single  one  brings  out  a  vast  variety  of  new  effects. 

The  presentation  of  the  new  music  elements  is  clearly  explained  in 
Chart  Series  E  of  the  Natural  Course  in  Music.  The  new  developments 
which  arise  are  treated,  in  this  book,  in  exercises  and  in  songs. 

The  work  is  now  so  varied  as  to  become  not  only  a  matter  of  intense 
interest  and  delight,  but  a  means  of  mental  discipline  of  the  greatest 
value. 

The  increased  number  of  new  combinations  possible  makes  necessary 
some  enlargement  of  the  original  plan,  but  the  cycle  idea  is  adhered  to  so 
that  thoughts  presented  in  simplest  form  at  first  appear  again  and  again 
in  new  and  varied  aspects,  until  by  the  repeated  impressions  made  upon 
the  mind  they  become  entirely  familiar. 

Special  care  has  been  taken  to  provide  for  every  department  of  the 
work,  so  that  the  aesthetic  sense,  the  voice,  the  ear,  the  eye,  and  the  hand, 
as  well  as  the  general  intelligence,  receive  full  exercise. 

The  studies  in  vocalization  and  the  control  of  the  breath  are  selected 
from  the  works  of  the  greatest  authorities  on  these  subjects.  These  exer- 
cises are  invaluable  for  promoting  clear  and  rapid  enunciation  and  articula- 
tion, as  well  as  for  the  cultivation  of  a  pure  and  musical  quality  of  tone. 

New  Second  Reader.  (3) 


4  PREFACE. 

The  Dictation  Exercises  tend  to  cultivate  acute  and  intelligent  hear- 
ing. This  is  a  department  of  work  first  introduced  in  the  Natural  Course 
in  Music,  but  now  recognized  by  all  as  an  essential  element  in  music 
training. 

The  Sight  Reading  is  founded  upon  a  simple  but  efficient  principle  for 
training  the  eye  to  recognize  rapidly  and  to  interpret  correctly  music 
symbols.  The  written  dictation  trains  the  hand  and  perfects  the  pupil's 
power  in  the  vise  of  music  signs. 

The  general  development  of  the  subject  along  artistic  lines  calls  for  the 
constant  exercise  of  the  pupil's  understanding,  in  a  highly  interesting  and 
profitable  way. 

The  influence  of  this  form  of  music  study  is  highly  beneficial  to  the 
moral  tone  of  the  school,  it  opens  the  mind  for  the  reception  of  general 
instruction,  and  aids  in  every  department  of  education,  but  beyond  this  it 
gives  the  pupil  a  power  of  appreciation,  and  an  ability  to  do,  which  will  be 
influential  for  good  throughout  life. 


N«w  Second  Reader. 


DIRECTIONS. 

Vocal  Culture. 

The  compass  of  the  child  voice  at  the  age  when  this  book  may  be  used 
includes  fully  an  octave  and  a  half  of  tones,  represented  thus :  — 


Most  children  can  sing  both  higher  and  lower.  All  children  in  normal 
condition  can  sing  these  tones  if  properly  trained.  The  music  in  this  book 
is  based  on  this  tone  range,  with  an  occasional  tone  above  or  below. 

Proper  Training  secures  (1)  the  right  method  of  tone  production  and 
(2)  a  free,  light,  and  flexible  quality  of  tone. 

The  Registers — The  terms  head  tones  or  register  and  chest  tones  or 
register  refer  to  the  way  in  which  the  tones  are  produced  as  well  as  to  the 
quality  of  the  tones.  For  our  present  purposes  it  is  necessary  for  us  to 
understand  simply  that  the  higher  tones  in  a  child's  voice-compass  must  be 
given  with  the  head  quality,  and  that  the  lower  tones  must  be  given  with 
the  chest  quality.  At  some  point  between  these  two  extremes  the  child 
must  change  his  method  of  producing  the  tones,  but  if  he  starts  with  low 
tones  in  the  chest  register,  being  inexperienced,  he  will  try  to  render  his 
entire  compass  without  changing  his  method  of  tone  production;  he  will 
strain  for  the  high  tones,  and,  failing  to  produce  them,  he  will  conclude  that 
he  can  not  sing  so  high.  But  if,  on  the  other  hand,  he  starts  with  a  high 
tone  well  within  the  head  register,  he  will  descend  easily,  his  vocal  organs 
will  relax  naturally,  and  he  will  pass  into  the  chest  register  without  being 
conscious  of  any  difficulty.  Practice  soon  gives  him  confidence  ;  he  realizes 
his  capabilities  for  rendering  high  tones,  and  so  becomes  able  to  sing  up  as 
well  as  down,  and  soon  enjoys  a  wide  compass,  and  sings  without  injury. 
Therefore,  train  the  voice  downward. 

New   Second    Reader.  '"/ 


6  DIRECTIONS. 

The  Exercise — Begin  with  Eb,  D,  or  C,  and  sing  thus  :  — 


iiEE 


II 


Be  careful  to  start  on  the  pitch,  and  to  test  the  pitch  at  the  close  with 
a  chromatic  pitch  pipe  or  instrument  of  some  sort. 

The  Position — The  pupil  must  sit  erect,  with  feet  squarely  on  the 
floor,  the  body  well  balanced,  leaning  neither  forward  nor  backward,  chin 
drawn  back,  hands  at  ease,  chest  well  elevated. 

Breathing  Exercise — The  scale  from  different  pitches  may  be  taken 
slowly,  four  counts  to  a  tone,  as  a  breathing  exercise,  thus  :  — 


l^H 


-g*— g- 


-cr 


-<g— s>- 


-^— g»- 


-&— cr 


-g*— gr 


m 


-«- fi- 


3f-8 — 


«g  igr 


-g gr 


I 


Flexibility  and  Clear  Enunciation — Exercises  for  the  cultivation  of 
flexibility  should  be  carried  well  up,  changing  one  step  at  a  time,  as  illus- 
trated below,  until  the  top  of  the  register  is  reached. 


Slowly  at  first ;  then  rapidly  loith  clear  enunciation. 


ft-o — Ff^-F?3-ff?3- 


I^^^^^^^^^^^g^^gj^i 


The  tones  should  be  sung  with  the  syllables  Do,  Ti,  La,  Sol,  Fa,  Mi, 
Re,  Do,  and  the  use  of  the  lips,  tongue,  and  teeth  in  securing  clear  and 
rapid  enunciation  should  be  cultivated.  The  Re,  with  the  rolling  r,  will 
serve  as  a  good  test.  When  the  pupils  can  roll  the  r  easily  the  tongue  is 
probably  used  properly. 


New   Second   Reader. 


DIRECTIONS.  7 

Besides  the  syllables  already  given,  vocalize  on  various  vowel  sounds, 
as  a,  e,  oo,  and  with  such  combinations  as  loo,  boo,  bell. 

Open  every  lesson  with  a  vocal  drill  selected  from  the  book.  Vocal 
drills  are  also  to  be  used  in  introducing  and  in  practicing  new  rhythmic  and 
chromatic  combinations. 

Additional  Exercises. 


si^ppiiiiiigiigggiiii] 


Three  time*  each. 


The  above  is  an  example  of  the  method  which  should  be  applied  in 
using  the  vocal  drills  given  at  the  head  of  lessons  in  the  body  of  the  book. 

Ear  Training :  Oral  Dictation. 

The  course  in  ear  training  should  keep  pace  with  the  tone  develop- 
ment in  the  songs  and  exercises  of  the  book. 

Begin  always  with  very  simple  examples  and  gradually  advance  to  the 
material  which  forms  the  daily  lesson.  Thus  the  teacher  should  sing,  first, 
the  scale  ;  then  the  octave,  down  and  up ;  then  the  arpeggio,  one,  three, 
five,  eight ;  then  eight,  five,  three,  one  ;  then  such  examples  as  eight,  six, 
four,  two,  one.  Tbe  teacher  should  give  the  tones  with  loo  and  the  pupils 
should  instantly  sing  the  tones  giving  the  names. 

Major  and  minor  scales  and  chromatic  combinations  should  be  used  in 
advanced  dictation. 

Suggestive  exercises  will  be  found  in  connection  with  the  lessons  in 
the  book.  These  should  1x3  supplemented  by  selections  from  the  lesson  of 
the  day. 

New   Second    Reader. 


DIRECTIONS. 


Illustrative  Dictation  Exercises. 
Major. 


_.£2_    ^ 


3=^: 


js — v 


II 


II 


I 


II 


>— a—  P=3 


-c? <2- 


-«-^5>- 


Minor. 


10 


11 


12 


tfe: 


fe 


^—jS- 


Chromatics. 


13 


14 


15 


^^E=^fc^=i 


^.^^#2=^1 


&V<^&~<s>-\\-& 


II 


-^-<S>- 


22 


-*2-<* 


II 


Tims  the  ear  training  includes  three  distinct  features  at  this  stage  : 
(1)  major  combinations;  (2)  minor  combinations;  (3)  chromatic  altera- 
tions. 

Written  Dictation. 

Frequent  practice  in  writing  should  be  given.  Each  pupil  should  be 
provided  with  ruled  paper,  and  at  the  teacher's  command  he  should  indicate 
the  tones  by  notes  upon  the  staff.  The  teacher  may  place  the  correct 
Representation  on  the  board  and  allow  the  pupils  to  mark  errors. 


Metric  Dictation. 

The  pupils  should  gain  the  power  to  distinguish  the  various  meters 
from  hearing. 

The   teacher   may  sing  such  exercises  as  the   following,  and  ask   the 

New  Second   Reader. 


DIRECTIONS. 


pupils  to  tell  whether  the  measures  contain  two  parts  or  three  parts.     Later, 
four  part  and  six  part  exercises  may  be  added. 


i 


'±- 


m^. 


5 


-i- 


m 


ii~ 


^ 


:p: 


=1=± 


-&— 


1 


Written  Metric  Dictation — A  perfect  understanding  of  the  means  used 
for  indicating  meters  can  best  be  cultivated  by  requiring  the  pupils  to  divide 
a  series  of  notes  into  measures,  and  to  place  the  proper  meter  mark  at  the 
beginning.     Thus,  the  following  may  be  placed  upon  the  board :  — 

k 


t^rr-T-f^^m^^^^^ 


The  teacher  may  sing  it  carefully  with  well  marked  accents,  and  the  pupils 
may  decide  whether  the  meter  is  two,  three,  four,  or  six  part. 

An  examination  of  this  exercise  shows  that  it  may  be  either  two, 
three,  or  six  part  measure,  and  the  decision  reached  by  the  pupils  must 
depend  upon  the  way  in  which  it  is  rendered.  Thus,  if  it  is  rendered  as  an 
example  of  two-four  meter  the  divisions  would  be  these : 


^=z^ 


zjv 


:*=* 


=1 


3 


^^H 


If  three-eight  meter  is  chosen  the  representation  would  be  this 


^mzm^^^^mi 


In  six-eight  meter  the  representation  would  be  as  follows  : 


fe 


£=£ 


-fr~ 


±r+-4-z* 


&£fe^ 


.  _ 


m^% 


Exercises  of  this  character  are  calculated  to  quicken  perception,  and  to 
induce  care  and  precision. 


New  Second   Reader. 


10 


DIRECTIONS. 


Rhythmic  Dictation. 

The  various  arrangements  of  tones  within  the  measures  which  charac- 
terize the  different  movements  or  rhythms,  can  well  be  studied  by  means  of 
dictation  ;  and  this  dictation,  like  the  other,  may  be  both  oral  and  written. 

Thus  the  teacher  may  sing  the  following  exercise  and  require  the  pupils 
to  tell  her  the  content  of  each  measure,  assuming  of  course  that  the  pupils 
are  aware  that  the  meter  is  two-four. 


[ffiSlS^ 


Jzzwz 


PEig 


-- N- 


II 


Tests  may  be  written,  and  the  standing  of  the  class  recorded. 

The  development  of  tone  and  of  rhythmic  perception  may  be  greatly 
advanced  by  encouraging  the  children  to  write  familiar  melodies  from 
memory. 

Original  Composition. 

Pupils  should  be  encouraged  to  write  original  melodies  involving  the 
forms  and  the  tonal  and  the  rhythmic  elements  contained  in  the  lesson. 

Additional   Dictation   Exercises. 

The  material  of  the  daily  lesson  may  be  used  for  additional  work  in 
the  various  forms  of  dictation. 

Tests —  Dictation  furnishes  the  most  efficient  means  for  testing  the 
proficiency  of  the  pupils,  the  test  being  personal,  exact,  and  complete. 


Order  of  the  Lesson. 
Dictation.     3.  Chart  Drill. 


4.  Reading  from  the 


1.  Vocal  Drill. 
Book. 

Caution —  Avoid  dwelling  too  long  on  a  single  item  of  the  lesson. 
Do  not  insist  on  perfection  at  once,  but  note  the  error  and  call  it  up  at 
another  time.     Make  some  point  prominent  in  each  exercise. 

The  chart  pages  should  be  studied  in  regular  order;  the  references  at 
the  head  of  the  lessons  refer  to  special  exercises  required  before  taking  the 
sight  work. 

New  Second   Reader. 


PART  I. 

Vocal  Drill.* 


S3=S 


Ch.  Ser.  E,  pages  1  and  3. 
Ex.  1. 


Ex.  2. 


■* — «- 


^ 


II 


Ex.  3. 


Ex.  4. 


E3E3 


II 


■* — * 


^^ 


=t 


* *- 


-■•—*- 


3 


Ex.  5. 


Ex.6. 


EF5F= 


ig^ 


^1:1 


j=> 


*=t= 


<^- 


Ex.  7. 


Ex.  8. 


II 


£2- 


b2t= 


* — #- 


-4-h— f 


25  G  Clef.  —  Staff.        Ear.      ||  Double   Bah.      I  Quarter  Note.     ^J  Half  Note. 

^  Meter  Signature;  this  means  that  each  full  measure  contains  the  value  of  two  quarter 
notes.     *  For  directions  for  vocal  drills  see  pages  5,  6,  7. 

New   Second   Reader.  (H) 


l'J 


Ch.  Ser.  E,  pages  1  and  3. 
Ex.  11. 


Ex.  12. 


Do,  re   -   o   -   do, 
Ex.  13. 


^pB^^ 


w$ 


m^mi 


fj;:2=J=d: 


EC 


4-«— 


* 


Ex.  14. 


te^H 


Si=4: 


i=p^i=^ 


I 


Ex.  15. 


i=p=fc 


i 


Tfc£ 


J 


+=W- 


£ee| 


Ex.  16. 

fe3 


* r*- 


^^Hi^Ii 


Ex.  17. 


I 


*      * 


Ex.  18. 


g^i^g 


H 


£2-*=^ 


^=F 


:=*=:* 


1ft  Quarter  Rest.     ^  Tie.     Two  notes  representing  the  same  pitch,  joined  by  a  tie,  are 
sung  as  one  note  having  their  united  value. 

Ntw  Second  Reader. 


13 


GOOD-BY   TO   THE   FLOWERS. 


1.  Good  -  by,    dai  -    sy,  pink,  and  rose,    And  snow-white    lil   -   y       too; 

2.  Good  -  by,    mer-  ry  bird  and    bee;  And   take    this      ti  -   ny    song, 

3.  Good  -  by,  moss  -  y  lit-  tie     rill,   That  shiv  -  ers       in      the    cold; 

4.  A  sweet    good -by      to  birds  that  roam,  And   rills,  and  flow'rs,  and    bees; 


W 


i 


V 


bF 


P 


= 


=1=3: 


5 


=t 


Hi 


Ev  -  'ry     pret  -  ty  ilow'r  that  grows,      Here's      a  kiss     for     you. 

For      the     one     you  sang   to         me  All        the  sum  -  mer   long. 

Leaves  that   fall        in  vale  and      hill  Gov  -  er  you    with    gold. 

But   when   win  -  ter's  gone, come   home   As   ear   -   ly  as      you  please. 


AUTUMN. 


F 


:r=±: 


=r=f 


=1 


£EL^ 


?=*== 


bJSf — F 

1.  Now    the     sum-mer  days    are  gone,  Chill  -  y  winds    are    blow-  ing; 

2-     All      the    leaves  are  fall  -  ing  down,  Hills    and  fields  are  brown  -  ing, 

3.     Na  -  ture    now  will  take    a  nap,       In      her  bed   ne'er  turn  -  ing, 


m 


EF 


F 


Trem-bling  in  the 
Ear  -  ly  goes  the 
Till      from    trop  -  ic 


3 


=t 


frost  -  y  morn,  Stand  the  cat  -  tie,  low  -  ing. 
sun  to  bed,  West  with  glo  -  ry  crown  -  ing. 
land    she  hears  Spring-time  sweet  re  -  turn  -  ing. 


N  Eighth  Note.     1  Eighth  Rest.     st\  Hold.     The  hold  increases  the  value  of  a  note 

■0 

at  least  one  beat.     8  Sharp.     \j  Flat.     The  sharps  or  flats  placed  next  to  the  clef  are  called 
the  Key  Signature.     They  tell  where  Do  is. 

The  last  sharp  in  the  key  signature  is  always  on  Ti  or  seven  of  the  major  scale. 

The  last  flat  in  the  key  signature  is  always  on  Fa  or  four  of  the  major  scale. 

New  Second  Reader. 


14 


Vocal  Drill. 


E^jsgT^gjg; 


Ch.  Ser.  E,  pages  1  and  3. 
Ex.  19. 


isgli 


Do,mi      -      o    -    do, 
Ex.  21. 


3=^=3 


:c£ 


II 


Ex.  22. 


Ex.  23. 


Ex.  24. 


-* * -0- 


II 


Ex.  25. 


,4 

^  Metee  Signature  ;  this  means  that  each  full  measure  contains  the  value  of  four 
quarter  notes.  •--  Half  Rest.  ^  Whole  Note.  ^.  Dotted  Half  Note.  The  dot  in- 
creases the  value  of  a  note  one  half.     <=*  •  equals  <=>    J  or  J  J  J 

The  scale  beginning  and  ending  on  La  is  frequently  used.  This  is  called  the  minor  scale. 
The  key  signature  remains  unchanged,  however,  so  that  it  is  by  noticing  the  tone  effect  that 
we  discover  that  La  instead  of  Do  is  the  keynote  or  fundamental  of  the  scale.  Which  of 
the  above  are  major  and  which  minor  exercises? 

New  Second  Reader. 


15 


ABIDE    WITH    ME. 


Henry  Francis  Lyte. 


William  Henry  Monk. 


1.  A  -  bide  with  me!    fast   falls    the       e  -  von  -tide;    The     dark-ness 

2.  Swift    to      its    close    ebbs  out    life's    lit  -  tie      day ;  Earth's  joys  grow 

3.  I      need  Thy    pres -ence    ev  - 'ry     pass-ing  hour;  What      but   Thy 

4.  I      fear  no     foe,     with  Thee    at    hand    to  bless ;     Ills     have    no 


=t 


thick  - 

ens, 

Lord 

dim  ; 

its 

glo 

grace 

can 

foil 

weight, 

and 

tears 

--#*■- 


J 


I . 


with  me  a  -  bide;  When  oth  -  er  help  -  ers 
rics  pass  a  -  way ;  Change  and  de  -  cay  in 
the  tempt -er's  power?  Who  like  Thy  -  self  my 
no      bit  -   ler  -    ness.     Where    is  death's  sting:  ?  where. 


m 


A 


ff-ft-j 


3 


-s*- 


. 


-4=t 


3^ 


^—rdr 


II 


fail  and  com -forts  flee, 

all      a  -  round    I      see  ; 

guide  and  stay    can     be  ? 

grave,  thy    vie  -  to  -  ry  P 


Help      of     the     help-less,  oh,    a  -  bide  with  me 

0  Thou  who    chan-gest  not,  a  -  bide  with  me 
Thro1  cloud  and    sun-shine,  oh,    a  -  bide  with  me 

1  tri- umph  still,     if  Thou  a  -  bide  with  me 


Lively. 


THE    DREAM    MAN. 


1.  Through  the    dark     soft  -  ly 

2.  Up      the  stairs    goes     he 


steal  -  ing,  Comes  the  Dream  Man     near, 
creep  -  ing    With      a     dream   for       you ; 


Stops    at       ev  - 'ry    door  and    whis-pers,"  Live  there  chil  -  dren  here?" 
All    his  dreams  are      mer     -      ry,  And      mer  -  ry  dreams    are     true. 


B   Meter  Signature  ;  this  means  that  there  are  four  beats  to  a  measure. 

New   Second   Reader. 


16 


Ch.  Scr.  E,  pages  1  and  3. 


Ex.  26. 


^^JUB 


Do, 
Ex.  27. 


sol  -  o      -      do, 


-w — «g- 


=i=t 


P^g^g^g^^fl 


Ex,  28. 


ft-J 1 


:g=g=* 


3E 


^^^ 


ii 


Ex.  29. 


E#H 


-^2-M-i 


^EJ 


| 


&=tP 


*==*£ 


is- *- 


=*I=j£ 


:st 


7n  major. 
1 


Oral  Tonal  Dictation.     (  See  pages  7,  8.) 

Jn  minor. 
2  3  4  5 


^^^^^=^E=SEE& 


77—& 


?—&-\ 


Dictation  for  Writing.     (  See  page  8.) 

2  3 


v-v- 


*9—zr 


■&—B- 


-a-&- 


-g-zy- 


■»-s>- 


I 


^zs: 


I 


Oral  Metric  Dictation.     (  See  pages  8,  9.) 
2  3 


h-4-a  » [ay 


ii 


alisisa^siia 


^    Meter   Signature;   this  means  that  each  full  measure  contains  the  value  of   three 
quarter  notes. 


New   Second   Raadar. 


17 


LULLABY. 


Clatts  Groth. 

Softly  and  not  too  quickly 


Caroline  Wincheen. 


peep 


eyes    tight,      Mous 


er's    wing, 
sleeps  well, 
babe,     good  -  night. 


CALM    ON   THE   LISTENING    EAR   OF    NIGHT. 

E.  H.  Sears.  J.  B.  Dykes. 


Calm  on      the     lis  -  filing  ear        of 

Ce  -  les  -  tial  choirs  from  courts  a 

The   answ'ring  hills      of     Pal    -   es 

O'er   the   blue  depths    of    Gal     ■    i 


night  Come  keavVs  me-lo  -  dious  strains, 
bove    Shed     sa  -  cred  glo  -  ries  there  ; 
-  tine     Send  back  their  glad      re  -  ply  ; 
■   lee    There  comes  a      ho  -    lier  calm, 


♦Glo  -  ry       to     God  !"  the  sound  -  ing  skies    Loud  with  their    an  -  thems  ring : 


Where  wild   Ju  -   de    -     a    stretch -es     far        Her      sil  -  ver  -  man  -  tied  plains. 
And      an -gels,  with     their  spar  -  kling  lyres, Make  mu  -  sic        on      the    air. 
And  greet, from     all     their     ho    -    ly  heights, The    Day-Spring  from  on   high. 
And  Shar  -  oil  waves,     in      sol  -  emn  praise,  Her      si  -  lent  groves   of    palm. 
'Peace   to     the     earth,  goodwill      to     men     From  heav'n's  e  -  ter  -  nalKing!" 

\  Sldk.     When  one  syllable  is  to  be  sung  to  more  than  one  note  the  notes  are  slurred 

me -Si 


or  tied  together,  thus  : 
New  Second   Reader. 


Lit 


tie 


Lit  -  tie 


18 


Divided  Beat. 

Vocal  Drill. 


i?fe 


CSF 


Ch.  Ser.  E,  pages  2  and  3. 
Ex.  30. 


-4— *=* 


»     * 


IP^^s 


-I*— »-- 


-t- 


1^1 


Ex.  31. 


TT 


*     *- 


ggjgg^^iSii 


Ex.  32 


g^iBjg^l 


-^-^- 


F=t 


-» V 


II 


Ex.  33. 


%^ 


Ex.  34 


t=t= 


^ii^g^lil 


II 


Ex.  35. 


=t 


^=^: 


si^s 


Ex.  36. 


4— p — ». 


:4=t=F 


~r*=^ 


"# » 


t=E= 


#-«- 


rj=h^ 


J 


Ex.  37. 


fcp 


t=l= 


-* — «- 


£eeE 


1^1 


gng§g 


s 


at—*- 


3=1 


*= 


J^  Eighth  Note.  -\  Eighth  Rest.  E  3  Repeat  Marks;  the  matter  between  the 
marks  is  to  be  simg  a  second  time.  In  the  absence  of  the  first  of  these  marks,  repeat  from 
the  beginning. 

New  Second   Reader. 


WHEN   THE   WIND   BLOWS. 


19 


P 


^piEg^feE 


/ 


^^ 


1.  Oh,  the      dan-cing    of     the  leaves   When  the      wind      blows,  Oh,  the 

2.  Oh,  the      com  -  fort    of     the      fire      When  the      wind      blows,  Oh,  the 


ate 


tr 


_a — 0 — ^ — i__^ 0 0— 


= 


£ 


m 


— -0—0 — -0—0 — &>- 


dancing  of  the  leaves  When  the  wind  blows,  And  the  rushing  of  the  trees  Shouting, 
corn-fort  of  the  fire    When  the  wind  blows, While  we  hear  the  song  and  chat  Of  the 


t& 


H3^3 


=± 


S^ 


N — N 


=*SE 


0 


£=£: 


■<&-. 


XT 


^£^ 


i=£ 


shriek-ing      on      the      leas,    Like    the      sound    of      seeth  -  ing     seas, 
ket  -   tie      and     the      cat,      And     the       crick  -  et        on       the      mat, 


fc& 


e£ 


3*^ 


m 


n — I- 


m 


/ 


_F 


1 — *- 


» 
* 


I 


When  the  wind  blows,     When  the  wind     blows,    When  the  wind      blows. 

Hf-*- 


35 


d 


g^^g^^^    J     11 


p,  abbreviation  of  the  Italian  word  piano,  meaning  soft.  /,  forte,  strong,  ff,  fortissimo, 
very  strong.  Not  only  these,  but  nearly  all  abbreviations  and  words  indicating  the  expression 
of  music  are  from  the  Italian  language,  -==  means  increase  the  tone  power.  =-  means 
decrease  the  tone  power. 

New  Second  Reader. 


20 

Ch.  Ser.  E,  pages  2  and  3. 
Ex.  38. 

Ex.  39. 


>m^gm 


~p   T 


3=5 


3 


i 


ir 


£=gE^§§ 


~^=» 


*       « 


t=: 


=j 


£- 


Ex.  40* 


=t=q 


t= 


i 
SI 


Ex.  41 


zzzzazi      •*      h^ * 


z^i-j-n 


35 


F 


m 


t=* 


I] 


Ex.  42 


'm& 


^n 


'*  + 


ES 


Ex.  43. 


*= 


?=*= 


«fe0 


M=3 


*— * 


Oral  Tonal  Dictation.     (  See  pages  7,  8.) 
2  3  4 


-jS2 <S2- 

^ 


1 


•y 


-|g-g a? 


II 


Rhythmic  Dictation.     (See  page  10.) 

4 


Pupils  to  distinguish  the  tones  and  recognize  the  rhythm. 
1  2  3 


m^^mmisM^m^^^m 


♦Notice  the  difference  between  Ex.  40  and  41.     The  eighth  rest  shortens  the  note  before  it. 
The  same  effect  is  sometimes  indicated  by  putting  dots  above  or  below  the  notes,  thus:     •    J 

New  Second   Reader- 


21 
Chromatic  Tones. 

The  mastery  of  chromatic  tones  is  gained  by  practicing  the  same  tone 
effect  in  another  and  already  familiar  representation.  Thus,  Fi  or  sharp  4, 
when  taken  from  Sol,  or  5,  may  be  illustrated  by  Ti,  or  7,  when  taken  from 
Do,  or  8.     Thus  : 


'-Ji~i: 


-Azz*i 


:2=H: 


p-fc^=fefc=[ 


5 


1:1 


Do,      ti,       do.  Sol,     fi,       sol. 

In  a  similar  way,  the  effect  of  the  sharp,  applied  to  other  scale  degrees, 
may  be  shown : 


^testes  iMmm$mm\ 


Do,  ti,   do. 


La,  si,    la. 


Do,ti,    do.  Ti,  li,    ti. 

The  following  exercise,  illustrating  chromatics,  is  easily  acquired. 
Ex.44. 


Do,  ti,  do,  re,  di,  re,  mi,ri,  mi,  fa,  mi, fa,  sol,  fi,  sol,  la,  si,  la,  ti,  li,  ti,   do. 


P^^j^plajlgdl 


Ex.  45. 


te^EagBgggl 


U  Natural.  A  sharp,  a  flat,  or  a  natural  used  as  above  is  called  an  accidental,  and  the 
tone  indicated  is  called  a  chromatic  tone.  Ex.  45  is  similar  to  the  second  half  of  Ex.  44  in 
effect. 

The  natural  is  sometimes  called  the  "cancel  "  because  it  cancels  the  effect  of  a  sharp  or  a 
flat  used  either  in  the  key  signature  or  as  an  accidental.    Thus  in  a,  the  natural  cancels  the  flat 
used  in  the  key  signature ;   in  b,  it  cancels  the  sharp  used  in  the  key  signature  ;   in  c,  the 
natural  cancels  both  a  sharp  and  a  flat  used  as  accidentals. 
_  b 


•     >       : 


P= 


ti,     te,  " 


I     .   I 


fl,     fa, 


=1 


iiliji 


?= 


^  fa,'     fi,  "  ti,     te,  "'  fi,     fa,  te,    ti, 

It  will  be  seen  that  when  the  natural  cancels  a  sharp  it  indicates  a  lower  tone,  and  that 
when  it  cancels  a  flat  it  indicates  a  higher  tone. 

New  Second   Reader. 


22 


Chromatic  Alterations. 
Ch.  Ser.  E,  page  4  ;  page  5,  Ex.  1,  2. 
Ex.  46.  Ex.  47.  Ex.  48. 


Ex.  49. 


iSSii^SI 


Do,  ti,    do. 


Mi,  ri,    mi. 


^a^^^M^-iHf-r^a 


Do,   ti,  do,  re,  di,  re,  mi,  ri,  mi,  fa,  mi,  fa,  sol,  fi,  sol,  la,  si,  la,  sol,    sol,  do. 
Ex.  51. 


i=t 


SI 


:*-J=q 


Ex.  52. 


HH^l^i! 


**=3= 


:4zz*; 


^-&S==P=fc 


Ex.  53. 


c*z=p3=S=J=J 


j^js^g^^a^^^^g 


SOW   IN   THE   MORN   THY   SEED. 

Bound  in  two  parts.  * 

■JL „ ^ 


J.  s. 


:i 


L1= 


± 


:*=t 


-^-*- 


*     * 


i 


.Sow    in     the  morn  thy    seed ;         At      eve      hold   not   thy    hand ;   To 
„   u  D.C 


^EJa^EgEfcEEjEEg 


s^ 


P 


II 


doubt  and    fear  give  thou    no     heed, Broad-cast   it      o'er     the    land. 


*  When  the  voices  of  the  first  part  reach  the  point  marked  with  the  asterisk,  the  voices 
of  the  second  part  begin  at  the  beginning.     D.C,  Da  Capo,  return  to  the  beginning. 

New  Second  Reader. 


23 


WHERE   THE   BLUE   HILLS   RISE. 


Franz  Mair. 


g= 


=j^3^ 


rf» j- 


^=^ 


-^ 


g 


1.  Where  the      blue     hills    rise      'Neath  the       sun  -  ny     skies.Where    the 

2.  Could      I      choose   my       lot  In       that     pleas  -  ant     spot,  From    the 


^a- 


^=* 


:3^S 


^ 


g*~ J~fj=^^ 


=£=*= 


lakes  un  -  ruf-  fled     lie       a  -  sleep,    There,  in      calm   re-  pose  From   their 
cit  -   y       I    would  turn    and   flee :     There    I'd     pass    my     days,  Sing  -  ing 


* *- 


:|= 


-S* 3 


^ 


^=^ 


=£=£= 


=fc 


cares    and   woes,  Wea  -    ry      souls    their  sweet    con  -  tent     may     keep, 
mer  -  ry     lays ;   Gyp    -   sy  -     like      I*d     roam     at       will      and     free. 


A   SPINNING   SONG. 


£ 


:2:=* 


4-W $=M 


*=£: 


£ 


^ 


:fcc= 


Hark !  the  wheel     is      whir  -  ring,         With      a     drow  -  sy      purr  -  ing 


-t* — 'fr — t^- 


-^ 


Turn    it,     turn  with    bus  -    y      hand,       Send    its     hum  throughout  the  land ; 


£££ 


i=H 


*— =qv 


^e^^H 


Turn   the  wheel,    O       maid  -  en, 


With     its     treas  -  ure     lad     -  en. 


Oral   Tonal   Dictation. 
3  4 


II  *  ^^spEl^l^^Si3^EiiEH  :J 


The  Key  Signature  (see  page  13)  shows  us  where  Do  is.     Do  is  here  the  key  tone. 

New  Second  Reader. 


24 


Rhythm. 


The  preceding  exercises  and  songs  contain  the  various  common  metric 
forms  with  slight  rhythmic  variations.  That  is,  while  the  various  kinds  of 
measure  are  illustrated,  the  variety  of  note  values  within  the  measure  is  very 
limited.  The  following  exercises  are  intended  to  refresh  the  pupil's  memory 
of  the  rhythmic  figures  already  studied,  and  to  prepare  for  new  developments. 

Development  of  a  Rhythm.  } 

2 


Loo,  loo,  loo,  loo,  loo,  loo,  loo,  loo;     loo  -  oo,  loo  -oo,    loo  -  oo,    loo-oo; 


P3=3ig^gg=g^| 


loo,       loo,    loo,       loo;         loo,     loo,      loo,     loo,       loo,     loo,     loo,       loo; 
5  6 


inm 


^pg^jg 


4: 


II 


loo-oo  -oo,    loo,    loo-oo  -  oo,  loo;   loo-oo-oo,loo,  loo-oo-oo,loo ;      loo. 

1  and  2  lead  to  3 ;  4  and  5,  to  6.  The  three  figures  to  be  fixed  by  this 
exercise  are  1,  3,  and  6.  These  have  been  previously  presented,  but  it  is 
still  necessary  to  call  attention  to  the  analysis,  and  to  continue  the  daily  drill. 

If  the  children  are  allowed  to  move  one  finger  slightly  for  each  beat,  the 
teacher  can  tell  whether  the  idea  is  gained  or  not.  For  this  purpose  the 
pupil  should  have  the  right  hand  on  the  desk,  palm  down.  To  show  the 
beat  he  should  press  the  finger  down  and  hold  it  while  the  tones  for  one 
beat  are  sung,  then  raise  it  and  press  it  down  again  quickly  for  the  next  beat. 
The  beating  should  make  no  noise.  Notice  that  in  this  method  of  beating 
we  count  down  beats  only. 

New  Second  Reader. 


25 

The  ability  to  interpret  rhythms  quickly  and  accurately  depends  almost 
entirely  upon  the  amount  and  kind  of  practice  that  is  given.  That  is, 
rapidity  of  reading  does  not  depend  upon  the  reason  or  on  slow  processes  of 
thought,  but  upon  quickness  of  perception  based  upon  a  knowledge  of  the 
figures  as  wholes.  The  analysis  of  a  rhythm,  then,  is  merely  an  aid  to  its 
first  interpretation,  and  incidentally  a  means  of  establishing  a  principle  by 
which  new  rhythmic  figures  may  be  correctly  interpreted,  preparatory  to 
memorizing. 

The  rhythmic  drill  is  best  conducted  from  Chart  Series  E,  where  the 
various  forms  or  figures  are  analyzed,  and  then  arranged  in  order  for  drill. 
The  study  of  the  chart,  therefore,  is  an  all-important  matter,  and  should  form 
a  part  of  each  lesson.  If  the  chart  is  wanting,  the  analysis  and  the  various 
figures  should  be  copied  upon  the  board,  either  from  this  book  or  from  the 
reduced  edition  of  the  charts. 

Having  gained  the  power  to  interpret  the  rhythm  at  the  sight  of  the 
representation,  the  next  step  should  be  to  gain  the  power  to  recognize  the 
rhythm  when  heard  and  to  represent  it  correctly  in  notes  on  the  staff.  (Rhyth- 
mic dictation,  page  10.) 

In  this  work  ( 1 )  the  teacher  may  sing  the  rhythms  and  ask  the  pupils 
to  tell  which  of  the  forms  they  hear,  or  (  2  )  she  may  place  the  figures  on 
the  blackboard  and  sing  them  in  varying  order  and  ask  the  children  to  tell 
which  she  sings,  thus  :  — 

1  2 


T 


± 


m 


=1: 


A 


* 


As  soon  as  two  figures  are  easily  distinguished,  others  may  be  added. 
The  work  should  also  progress  from  the  writing  of  single  figures,  to  the 
expression  of  little  phrases  which  consist  of  a  combination  of  several  figures, 
thus:  — 


^ 


m 


New  Second    Reader. 


26 


Unevenly  Divided  Measure. 
Vocal  Drill. 


^PJsEpipgi^^ 


Ch.  Ser.  E,  page  7. 
Ex.  54. 


te^^^^g^i^i 


Ex.  55. 


r=& 


g 


^^^=E±*=m 


2 


fcfe 


Ex.  56. 


fa^=3=a^=g 


±= 


^s 


£e££ 


Ch.  Ser.  E,  page  7,  Ex.  2. 
Ex.  57. 


^^0 


3=fc 


:*=:&: 


*gEB=L=y£=g=f 


Ch.  Ser.  E,  page  1,  Ex.  3a,  6,  and  Ex.  4. 
Ex.  58. 


^^^^^y 


Bt 


7 


II 


=1 


:s£ 


■*-S^r 


Rhythmic  Dictation.     (See  page  10.) 

2  3 


=2=d: 


:£=•; 


fl^ig^ggig3^^i^H 


New  Second   Reader. 


OLD  TEMPEST. 


27 


is 


rfc 


23 


^ 


=P=f 


fat 


1.  Old  Tem-pest  is        a        sur-lylord,    He  wields  a  huge  and  heavy  sword, In 

2.  He   rush-es      in       his      cloudy  car    O'er  trembling  land  and  seas  a -far,  While 

3.  The  ships  that  cross  his        ocean  path  Must  bend   be- fore  his  rising  wrath, Or 

4.  He  grim-ly  shakes  them  there  awhile, Then  hur  -  ries  on  with  careless  smile,  All 


f^=^9= 


$=F 


3tft 


!*=*: 


:E 


ver  -  y     reck  -  less  fash  -  ion  ;  He    lev   • 

na  -  tions  gaze  and  won  -  der ;  Fire  flash 

feel    his     fa   -   tal  pow  -  er ;  Up  -  on 

time  and    dis  -  tance  scorn-ing :  The   sun 


els     for  -  ests    at       a  blow, And 
es     from  his   hors  -  es'  heels, The 
the     loft  -  y    moun-tain  brow  The 
be  -  holds  the   com  -  ing  storm,  And 


I 


£EeSe 


22" 


lays  their  might-y     mon-archs  low, And   rends    them    in      his    pas  -  sion. 

roll  -  ing      of     his    char  -  iot  wheels  Af-frights  the    world  in    thun  -  der ! 

trees  and  plants  be  -  fore     him  bow, And  shrubs   in       ter  -  ror   cow  -  er! 

hides  with  -  in     his   cham-ber  warm,  And  waits    a        calm-er    morn -ing. 


THE   MOON. 


EEEE 


^S 


>~K' 


■*—*- *- 


S3^ 


1.  Ar-rayed  in  robes  of   sil-ver  light,      I     move  a- mid  the  orbs  of    night,     A 

2.  In    silence  calm, ma-jes -tic,  deep,     A  -  long  my  starry  course  I    sweep;  The 

3.  The  glow-ing  sun,  with  lordly  grace,   De-lights  to  look  up-on  my    face;    He 


Eeb; 


f^^==f5=^-=H=-^==^ 


3EE 

5>  4 


W^ 


-+—*—■*- 


* 


^ 


>-N 


*— *- 


£=£=tr- 


3=* 


5> -0 — ' — 4-  :  ■      +- 


a 


queen  with  un  -  dis-put  -  ed    sway,  When  dark-ness  conquers  fly  -  ing    day. 
pass  -  ing  years  as  -  sail   in    vain,      My    beams  a     con-stant  joy     re  -  main, 
rules   the  day  with  gold-en  light,    With     sil  -  ver  beams  I    rule  the    night. 


H 


>— IS 


m 


-* — 


^ 


:i 


X 


I 


Each  line  and  space  of  the  staff  is  called  a  degree.     The  scale  occupies  eight  staff  degrees. 

New  Second   Reader. 


28 


Ch.  Ser.  E,  page  6. 
Ex.  59. 


i^ 


Study  of  Flat  Seven. 
Vocal  Drill. 


Ex.  60. 


-X2l 


3 


d 


Sol,       fa,      mi,        fa,      mi. 


3E 


^ hi 


b 


1- 


II 


Do,        te,       la,       te,       la. 


Ex.  61. 


1* 


LH"  4 


bi 


»s^ 


-&r 


:t=± 


5^5 


Pf^ 


\jZ2l 


*-- 


Ex.  62. 


MORNING   PRAYER. 


Slowly. 


Carl  Reinecke  (arr.). 


i^^^ 


=1 j J=t 

E*=d=i£=*: 


=t=t 


1.  Great  God      in  Heaven, Who     by      my      bed     Thy     faith  -  ful    watch     did 

2.  I      thank  Thee,  Lord     and      Fa  -  ther    mild,  And      all     Thine   an  -    gels 


d: 


=t 


3*3=^ 


* 


s^ 


1- 


S^tt 


-- 


^ 


i^H^fl 


keep; And  night's  best bless-ings    o'er       me  shed, Sweet  rest  and  balm -y  sleep; 
too,   And   pray    Thee  still     to      help     Thy  child  Thy     ho  -  ly     will     to  do. 


^EgEmiE^mm 


^^ 


^s^ 


i 


-*-*- 


means  accent. 


Now  Second  Reader. 


29 


Ex.  63. 


-m- — W- 


W=^ 


| L-LL^=t 


ipzz^z 


25t 


^      |  1 


tsz: 


:»-z*_- 


Il^gi 


Ex.  o4.     Ch.  Ser.  E,  page  1. 


£#^ 


EE 


-I PS 


hS: 


-s=^ 


i 


p^gE^ip^^g^S^Ei^l^ 


II 


Ex.  65. 


teg^ik^3=3fel^^l 


Hj-k 


# 


^==P= 


t= 


Dar  -  ling    ba  -by,   sweet  -  ly     sleep,     While      a     sis  -  ter's  watch   I   keep; 


4^~ 

£8: 


m 


l=pjr^ 


Q=tc 


.*=*: 


d=* 


i^e 


Safe  -  ly    rest,      no      dan  -  ger    fear !       Love     a  -  lone   is      wait  -  ing  here. 


^^ 


S3 


V 


S 


35 


i=fcr 


==H 


«=*! 


"^*"  Whole  Rest.     Either  sharps  or  flats  may  be  used  for  the  Key  Signature.     If  flats 
are  used,  the  one  farthest  to  the  right  is  on  Ea  or  four  of  the  scale. 


i    IM 


E= 


Ea,  do. 
New  Second  Reader, 


Ea,  do. 


Ea,do 


Fa,  do. 


30 


THE  GOLDEN  BOAT  SONG. 


Ch.  Ser.  E,  Page  9,  Ex.  2. 
Mrs.  Ormiston  Chant. 


Mrs.  Ormiston  Chant. 


ite 


j 


j 


jt± 


^ 


■^ 


Here    we  float      in  our  gold  -  en   boat,     Far       a  -way,       far       a  -  way 


fe^£ 


J— 


Here     we  float      in     our   gold  -  en  boat,        Far         a      -     way. 


^P 


■=1 — =1- 


^f£E3Ei 


sy 


ps 


*=fcc 


See  how  we  splash  and  wa  -  ter  dash,  While  on  the   air     the  sun  shines  fair, 


^£ 


m  =^ 


* 


F 


Sing  -  ing       of     birds      and    low   -   ing  herds,        Far  a 


way. 


*=* 


3=^ 


a 


i 


&i 


3t=fr 


So       we  float     in  our  gold  -  en  boat,     Far        a -way,     far       a -way, 


fa^£dEd^3— AzfeEg 


a 


So         we   float        in     our  gold   -    en    boat,         Far 


way. 


Ex.  66. 


g 


^&. 


3=i* 


-I— ri3F=»^ 


H 


S3 


£±±* 


* 


^*: 


^=J3t 


^ 


New  Second  Reader. 


Minor. 


31 


From  the  beginning  of  the  course  the  exercises  and  songs  imply  a 
knowledge  of  tone  relation  which  enables  the  singer  to  go  from  tone  to 
tone  in  any  order,  producing  minor  as  well  as  major  effects  indifferently,  for 
it  is  the  effect  which  is  produced  upon  the  ear  to  which  we  call  attention 
rather  than  to  the  scientific  explanation  of  how  the  effect  is  produced. 
Hence  we  have  referred  to  the  major  scale  as  the  scale  from  Do,  and  to  the 
minor  scale  as  the  scale  from  La.  The  pupil  experiences  no  more  difficulty 
with  the  minor  than  with  the  major  scale,  but  certain  chromatic  tones  enter- 
ing into  minor  formations  must  be  studied  not  simply  as  chromatic  tones, 
but  as  tones  belonging  in  the  minor  scale.  Thus,  sharp  five  or  Si  must  be- 
come so  familiar  as  a  scale  tone  that  one  can  take  it  from  any  other  tone  of 
the  scale  as  readily  as  one  takes  Do  or  Sol. 

Major  Scale.  _    Minor  Scale. 


m 


ME* 


t= 


^E* 


=t 


I 


1 


As  these  scales  have  the  same  key  signature  ( three  flats )  the  minor 
scale  is  said  to  be  the  relative  minor  of  EJ7  major,  and  since  La  is  on  C  we 
call  it  the  scale  of  C  minor. 


Ex.  67. 


Study  of  Sharp  Five  or  Si. 

Ex.  68.  Ex.  69. 


Ex.  70. 


^^^fe^^^^m 


La,  si,     la. 


H-*-#t 


^^^mm 


Do,re,ti,    do. 


La.ti.si,    la. 


3i 


a — m. 


e 


*= 


New   Second    Reader. 


32 


Minor. 


Vocal  Drill. 


i^pdmiiM 


Ch.  Ser.  E,  page  1. 
Ex.  73. 


u. 


Ex.  74. 


m 


=£}: 


=t 


=t 


Do,        re,         ti,         do. 


La,        ti,         si,  la. 


II 


Ex.  75. 


a^i 


a 


^ 


-R 


Ex.  76. 

— ^    ~^   ~FS: 

~T-1 

^pfe. 

-f- 

I — — fc-   * 

=^=*   ^^*P      - 

— —  \ 

Ex.  77, 

4 


L4 — r 


# — W= 


t= 


SiblE^E^ 


-)M 


Ex.   78. 


i±I 


H 


^^££F 


Sfc£ 


P=^=?c 


* * 


:Szg. 


SS 


3q=fc 


^pl^^^^H 


Oral  Tonal  Dictation.     (See  pages  7  and  8.) 
2  3  4 


l^y^l^^j 


u 


^2— «S>- 


-^-jfgr-g- 


H 


Rhythmic  Dictation.      (See  page  10.) 

2  3  4 


New  Second  Readen 


33 


Ex.  79. 


M: 


=fc 


■tifcE 


II 


» 


S 


p^g^r^ 


^^^Sl 


Ex.  80. 


l^lpS^aS^^S^^ 


^ 


?3= 


I 


0,  WHY   SHOULD   LIFE? 


A.  MUHLING. 


3 


-s* 


-*■=—* 


i 


1.  O,       why.     should     life  be        stained         with  sor  -    row,  When 

2.  O,       why     should      we  dis  -    trust  the  raor  -  row,  When 


f^ 


A 


3-=& 


4^: 


d 


=t 


^ 


=t 


-<=>- 


^^ 


.< 


II 


God 
friend 


is  ev 

ship       lin 


er  good 

gers        yet 


and 
be 


kind? 
hind  ? 


I 


-zs>" 


~i 


3 


±—\- 


^p^i 


New   Second   Reader. 


34 


Ch.  Ser.  E,  page  7. 
Ex.   81. 


The  Unevenly  Divided  Measure. 


Ex.   82. 


?-fe 


± — i — =i — =£_ 


3 


Ex.  83. 


*fe^E? 


=HZZ=Z=pr 

d — # ^-h- — 


Ex.   84. 


S* 


E^ 


-^ — *— =i 


MORNING  SONG. 


gffi 


§^fe£ 


i 


^ 


-J 


t 


:t: 


tc£ 


1.  When   the     moon      be  -  gins      to         steal       On      the       new  -    born 

2.  Thou    my    heaven  -  ly      Fa  -  ther,     hear,    From  Thy    throne      on 


iSE^E^ 


3 


^=Mt 


$ 


:- 


>.-; 


-d zgr 


r —      g^J 


S 


"f 


S — 0- 


EeeeE 


?=£ 


t= 


=£ 


:i=2: 


day,  In     my  cham  -  ber   let     me  kneel,  There  in     se      -      cret       pray, 

high ;        Thou  wilt  still     my     ev  -  'ry     fear,     As     the  shad     -     ows         fly. 


I 


II 


tE^^^m 


±i±=a 


<^>-r 


^ 


-€5>— 


The  first  note  in  Ex.  84  is  called  a  catch  note.  Exercises  opening  with  the  catch  note  should 
cause  no  difficulty.  The  tone  represented  by  the  catch  note  should  be  sung  without  counting ; 
beating  should  begin  with  the  first  tone  in  the  first  full  measure. 

New  Second  Reader. 


FAREWELL   TO    THE    BIRDS. 


35 


Ch.  Ser.  E,  page  7. 


Franz  Abt. 


£p* 


33 


d 


=t 


♦. 


1.  The  summer  days  are  o  -  ver,  And  autumn  swiftly  flies  ; Cold  winter's  drawing 

2.  The  birds  that  sang  so  sweetly  Prepare  to  take  their  way  To  climes  where  golden 


*& 


ft-#— 1- 


p: 


=t 


=i===d: 


- — #-  -s> 


ip=^ 


near       us,  And  dark-er  grow  the  skies.  The  fields  are  green  no  Ion  -  ger,  All 
sun-shine  Xow  sheds  its  eheer-ing  ray.  Farewell, dear  birds  that  leave  us, Bright, 


h 


felSgi^ 


gaunt  and  bare  the  trees,  Whilst  thro1  the  drear-y        for-est  Loud  moans  the  stormy 
hap-py  days  to  you !  Come  back  with  spring  and  give  us  Your  dul  -  cet  songs  a  - 


P* 


3=ac 


1=i 


-*-*■ 


II 


breeze,  Whilst  thro1    the    drear-y         for  -  est  Loud  moans  the  stormy  breeze. 

new,     Come  back  with  spring  and    give    us  Your  dul-cet     songs  a-new. 


Ex.  85. 


u 


," 


m. 


--:■ 


3h: 


^3^1 


&% 


, 


3t= 


^ 


— ^ 1 — (S, IJ 


Ex.  86. 


X    DoL'HI.E    SSllAKl'. 

New  Second   Reader. 


36 


Chromatic  Study. 


Vocal  Drill. 


fes 


Ch.  Ser.  E,  pages  5  and  7. 

Ex.  87.  Ex.  88. 


Ex.  89. 


WM* 


t-f=FtE 


0ii^iiiA^i^ii 


=£ 


i 


Do,  ti,      do. 
Ex.  90. 


Sol.fi,     sol. 


fi,  fa, 


Ex.  91. 


*=P:: 


:^=p: 


:B3 


fa 


K^^S^S 


Do, 


Sol, 


Ex.  92. 


d 


g£^j£^Es 


=J=Fi 


:E£ 


#»-=*-=%- 


±5t 


P    ?=* 


SI 


Ex.  93. 


%j-gir>-fgi 


-f- 


^ 


=&f 


II 


Ex.   94. 


*— «^ 


s^Si^Si 


Ex.  95. 


lll^lil^li^i^ill^l^ppl 


Practice  upon  the  type  exercise  at  the  top  of  the  page  should  be  continued  until  the  effect 
of  the  chromatic  is  firmly  fixed.  The  introduction  of  chromatic  tones  sometimes  causes  a  loss 
of  feeling  for  the  original  key. 


New  Second  Reader 


Vocal  Drill. 


37 


Ex.  96. 


=& 


^jz=5=^ — i — n — {= 


^S 


0 


s 


A  WINTER   SONG. 


B* 


£^ 


PS 


*  ■-«- 


£=*= 


=*=<* 


PPI 


Oh,  Win  -  ter      is      a     stur-dy    one!  He    takes  de-light  in  wind  and  cold.  lie 


* 


V     V     [*r- 


:^ 


• — -# 1- 


gi^fe^ 


mi 


loves  some  rough  and    nois-y     fun, And  plays  his  tricks  on     young  and    old,  He 
•*-   *    1 * — ^ — fr~l-fc  — b*—  t — +-w—f        w      + — H 


loves  some  rough  and  nois  -  y    fun,  And    plays  his  tricks  on      young  and    old. 
Ex.  97. 


^^ 


=5 


II 


Ex.  99. 


»2  -$  Er^tep=Bpg^Mi 


3= 


Ex.  100.  Ex.  101. 

*_4-p      :  f^f-^^— «H-J     j=T-g^ — mar  4  |       *  I        « 


Ex.  102. 


. 


32: 


HiHH  ■-  3 


i 


The  vocal  drill  should  be  taken  from  various  pitches  ;  see  page  7. 

Exercises  100,  101,  102  show  how  rhythms  develop.     The  rest  in  Ex.  102  simply  takes  the 
y>lace  of  the  dot.  1   >*v  «)  /i     * 

New  Second  Reader.  X      i     *W    ' 


38 


Ch.  Ser.  E,  page  1. 
Ex.  103. 


Minor. 


Ex.  104. 


m 


3=3 


& 


=JE 


-s*- 


m 


:2z=q: 


m 


Do,  re,  ti,         do. 


La,  ti,  si,  la. 


Ex.   105. 


^feSF^^S 


t# 


w 


^:Ept=£ 


Ex.  106. 


4=3= 


4— ?d- 


HPi^lI 


S 


=t 


Ex.  107. 


§^=i^§^^pi 


£# 


B 


^£=S 


-* — ^- 


Ex.  108. 


=1=F 


II 


$% 


s 


=t==r:fc:*: 


,i    * 


« 


All     the     world  seems  still    and    white,         "While  the       snow-flakes   fall. 


r^— ft 


ta 


^^t— =* 


3tZ=lt 


=^S 


P 


•^-#- 


g^s^S 


Ex.  109. 


:ge=g^^^ 


-gg » — X- 


^^^i i—i • 


b^^^ 


£- 


m 


:*=*= 


5 


*- 


New  Second   Reader. 


39 


PEACEFUL   SLUMB'RING   ON   THE   OCEAN. 

Stephen  Storace. 


i^m. 


? 


JZL 


1 r w -=- 1  ■  ■       i 

1.  Peace  -  ful    slum-bring  on       the     o    -    cean,  Sea  -  men  fear      no    dan  -  ger 

2.  Is        the    wind   tern  -  pes  -  tuous  blow- ing  ?    Still     no     dan  -  ger   they     de- 
pp  cres. 


nigh ;     The    winds    and      waves    in      gen    -    tie      mo    -    tion     Soothe  them 
scry ;     The    guile  -  less      heart,    its      boon       be  -  stow  -   ing,     Soothes  them 
^  P  PP  cres- 


pp,  pianissimo,  very  softly.     Cres.,  crescendo,  increase  the  tone  power,  like  — =.     Dim., 
diminuendo,  decrease  the  tone  power,  like  =— . 


New  Second  Reader. 


40 


Ch.  Ser.  E,  pages  1  and  7. 
Ex.  110. 


Rhythm. 


J 


+ -d 


II 


Ex.  111. 


m 


4: 


=t 


=t=at 


^^S^^^p3^ 


Ex.  112. 


:iii=i 


zpziizp 


:±==t 


^S=?^i 


'jti.- 

PS3 


31 


3=^: 


=c±- 


* — -*- 


m 


m 


-<s>— 


Ex.  113. 


t=(= 


ah* 


5 


H — h* 


Ite 


^^^Pp^^^^^^^EJEJ 


gum 


Oral  Tonal  Dictation.     (  See  pages  7  and  8.) 
2  3  4  5 


-Q—^—Q- 


-&-§&—&- 


<?—&—<& 


E^^U 


Written  Tonal  Dictation.     (See  page  8.) 
2  3  4 


g 


1=1 


II 


w 


&—v- 


-l£*Z=^ 


-&—zr 


New  Second  Reader 


41 


Ch.  Ser.  E,  page  5. 

>";*i/Tii ZT^  T^T 


A   BIRD    IS   SWEETLY   SINGING. 

Fkakz  Von  IToi-stein'. 


tr 


^§ 


A        bird  is    sweetly      sing    -    ingWith-in    the  leaf-y        wood;    I 


*fe 


^-^W+^^g— j— i »-F  j-^-*-«— *H  *— »— »— «=y 


-d- 


: 


-<&— 


:«z=p 


. ^M_ L 


-jy=t 


fcj/: 


;=G: 


^^=^g 


=- 


fefefei 


i=^:- 


hear  the    ear- ol  ring  -    ing, With  spring's  de-light    im  -  bued,   .   .    With 


i 1 j m ;<=« — -0 lm -9 m ■*-IJ-w —  — ■* — W— ' 


m 


pring's  de-light    im  -  bued.     O      eome      and  dwell  with  nie  Beneath  the  greenwood 


=P? 


^-H-^L^^. 


i^^Bgfcg^gj^E 


O       come 


3^ 


and  dwell  with   me,  Be-neath  the 


4fc& 


P  ^---^% 


_r^2— 


P 


H^^ 


— *- 


II 


tree, 


()     conic     and  dwell     with  inc. 


^  2 
$>*• 


J        *        * 


^r 


-TP: 


J  WEi^! 


grcpn-wood  tree ; 
New  Second   Reader. 


O      como      and  dwell       with  me. 


42 


Ch.  Ser.  E,  page  6. 


'? 


5^=22: 


Study  of  Flat  Seven. 

Ex.  114. 

± 


4^Jt  -+-f=*—*-  z*== JF| 


Do   -    e    -    re,     do. 
Ex.  115. 


Ex.  116. 


Ex.  117. 


4~*  *f 


ssifilsiiii^H 


Mi, fa,  mi. 


La,te,   la. 


Ex.  118. 


£3: 


^ZMt 


:*-*--g: 


T=1=F 


f=t=F 


F=t 


j=3l^a^^a^^N^i 


Ex.  119. 

bfe 


Ex.  120. 


^ 


z2: 


te=t 


H 1- 


:s? 


:&* 


<~T-=J J" 


H 


J=^: 


=t 


II 


3S^& 


-*- — P- 


-F— Fp 


F"-^ 


* — *- 


3=^ 


-« — »- 


■»— *H 


Ex.  121. 


ffislS 


Ex.  122. 


^^=ii^=§lpiliil^ipip^ll 


Do,  do,    ti,    la,    ti,    re,    ti,    do. 
Ex.  123.  Ex.  124. 


Sol,  sol,    fi,    mi,     fi,    la,     fi,    sol. 


gspss 


=t 


bs£ 


i=rt=±3 


s?-£--^-*- 


ssa 


Ex.  125. 


Bste= 


The  staff  degree  on  which  the  G  Clef  turns  is  always  lettered  g. 


g       a        f 
The  next  degree  above  is  lettered  a,  the  next  above  that  b,  and  so  on ;  while  the  next  below  g 

is  f,  the  next  below  that  is  e,  and  so  on. 

New  Second  Reader. 


THE   BOBOLINK. 


P 


ZZ&L 


—\- 


:- 


$ 


=t 


1.  Sweet     bird, 

2.  O       could 


thy    bower  is  ev 

I  fly,  I'd  fly 


43 


er  green,        Thy 

with         thee ;        We'd 


3=^ 


-* — fc^r 


=t 


^=^ 


=t 


tf 


note 
make 


, 


is       ev 
on      joy 


i^ 


. 


=t 


&i^ 


er        clear, 
ful       wins 


Thou      hast 
Our        an 


no      sor   -  row 
nual    vis     -     it 


w 


A — 


=t 


-<s»-i- 


0 


in  thy         song,        No     win      -      ter        in  thy         year, 

round       the        globe,      Com  -  pan     -      ions      of  the        spring. 


*=m 


ii 


w 


n 


+-*—ZJ- 


Oral  Tonal  Dictation.     (  See  pages  7  and  8.) 

2  3  4 


Written  Rhythmic  Dictation. 

Write  the  above  melody,  The  Bobolink,  from  hearing. 


New  Second  Reader 


44 


Ch.  Ser.  E,  page  1. 

Ex.  126. 


Minor  with  Sharp  Five. 


Ex.  127. 


Do,  sol,  fi 
Ex.  128. 


do, 


La,  si, 

Ex.  129. 


T#=#^=^=r- 


f^p=^ 


-*-*■ 


*fc 


r# 


-*- 


Ex.  130. 

y- 


=t 


ut=^ 


±h=4 


J-^-^jJsJzi 


^4_ 


THE   WATCHMAN. 


P 


=*= 


•— Y-* — +-     w      ts- 


1.  Half-past     one!     Al-most  two!  Here's  a  rhyme,  good  folks,  for  you. 

2.  Half-past  three !    Al  -  most  four !  Hear  the  watchman      at       the  door. 


jk 


T 


Bej 


«t=^ 


A—ikJ-b-w—Z-J at 


:£=*= 


LI 


:>- 


■#■ 0- 


Half-})ast  two  !    Al  -  most  three  !  Here's  an  -  oth    -  er   rhyme,  you    see. 
Half-past  four !    Al  -  most    five!  Come,  goodpeo  -  pie,     look      a  -  live. 


^ 


^P^0 


1  Minor. 


Oral  Tonal  Dictation. 
3 


5>_ 


II 


II 


1 


:;^- 


3£ 


g-H  ^— g»- 


-g isr 


New  Second  Reader. 


45 


Ex.  131. 

zifcSE 


t# —         — w ■*—    ^     -    ~ 1 1— \-w    -■* —      — 


~*—-*- 


Z=$L 


S^5 


^^^^^^^S^B 


THE   WINTER    SNOW. 


Alfred,  Lord  Tennyson. 


V — L* — * — * — * — L* — •#      * — "•—*-' — * — * — m  J 

Full  knee-deep  lies  the    win  -  ter  snow, And  the  win-ter  winds  are  wea-ri  -  ly 


r=f= 


si<rh    -    in<r;  Toll      ye     the  church  bell       sad        and     slow,  And    tread 


^==3* 


1^=3: 


J 


:     ^=^ 


^§=^=^11  pH 


soft  -  ly         and  speak  low,   .   .     For   the    old    year    lies        a    -    dy    -    ing. 
Ex.  132. 


SEE- 


'    I    *zf:^i^^ 


* 


it 


^  i  i 


@Mi  - 


Ff 


zzzzzzp  ^     pes: 


f 


* 
• 


Si 


' 


i  .-jj.- m^^mm 


New  Second   Reader. 


46 


Ch.  Ser.  E,  page  9 
Ex.  133. 


Ex.  134. 


^E^S| 


Ex.  135. 


Lpl#g^EI 


■d d 


x 


^=e 


3p 


4=^ 


Ex.  136. 


?l:fe^ 


=t=t 


=1=^: 


i — r 


±z=±. 


^N^^ 


Ex.  137. 


?K=*_#L_* 


i p—W—*- — F— ^— , — » — »— ^ — h 


E:t^=E 


=^ 


^*=?=*=^* 


IJi^J 


=4: 


J    d    +      " 


i=f- 


E^^^I^SP^^S 


■il 


-t= 


II 


piii 


X- 


-*- — i* — * — 1*= 


=»=E 


3 


The  effect  of  the  different  meters  should  be  brought  out  by  a  strict  regard  for  the  accents.     In 

all  the  meters  the  principal  accent  falls  on  the  first  beat  of  the  measure,  and  in  four  and  six 

part  measure  a  secondary  accent  falls  on  the  third  and  fourth  beats  respectively.     The  correct 

effect  of  four  part  measure  can  be  secured  by  alternately  pronouncing  com"  pro  mis'  ing,  and 

counting  :  —  "com'  pro  mis'  ing,  —  one",  two,  three',  four." 

New  Second  Reader. 


47 


Chromatics  Continued. 


The  successions  of  tones  Mi,  Fa,  Fi,  Sol;  Sol,  Fi,  Fa,  Mi;  Do,  Ti,  Te, 
La ;  and  La,  Li,  Ti,  Do,  represent  what  are  known  as  progressions  by  minor 
seconds.  The  mastery  of  these  combinations  is  a  comparatively  easy  mat- 
ter if  right  method  is  pursued  in  presenting  them  for  study.  A  glance 
at  the  type  exercise  on  page  21  will  show  how  the  mattei  may  be  taken  up, 
but  it  will  certainly  be  found  that  the  tendency  of  the  pupil  is  to  fall  below 
the  correct  pitches  in  descending  successions,  and  to  rise  above  the  correct 
pitches  ascending,  hence  it  is  necessary  to  fix  well  the  first  and  last  tones 
before  attempting  the  succession ;  thus  if  Sol,  Fi,  Fa,  Mi  are  under  consid- 
eration, the  point  of  departure,  Sol,  and  the  destination,  Mi,  should  first  be 
fixed :  — 

12  3  4  5 


:J^N 


SSSpSEj 


m 


Dwell  upon  each  division  of  the  exercise  until  it  is  sung  perfectly. 
With  the  ascending  successions  pursue  a  similar  course  ;  thus,  to  teach 
Mi,  Fa,  Fi,  Sol,  sing :  —  , 


mm$wm^^ 


The  general  principle  governing  the  perception  of  chromatic  tones 
which  progress  immediately  to  a  scale  tone  consists  in  keeping  in  mind  the 
scale  tone  to  which  the  progression  tends  and  attaching  the  chromatic 
tone  to  it.  For  example,  the  successions  Mi,  Fi,  Sol,  and  Re,  Fi,  Sol,  and 
Do,  Fi,  Sol,  are  equally  simple  when  Fi,  Sol  are  considered  as  a  connected 
effect,  so  that  we  sing  not  Do,  Fi,  Sol  with  equal  stress  on  each  tone,  but 
Do,  Fi-Sol,  having  in  mind  Do,  Sol,  with  Fi  connected  with  the  Sol  and 
not  with  the  Do. 

Drill  from  the  chart  is  very  important  in  connection  with  this  work. 


Ex.  138. 


Ex.   139. 


New    Second    Reader. 


48 


Progression  by  Minor  Seconds. 


Practice  the  four  exercises  that  follow,  separately.     When  they  are  familiar  sing  them  as 
one  exercise. 


Ch.  Ser.  E,  page  11. 
Ex.  140. 


m^ 


±L 


U + 


=} 


*=*!* 


=p: 


:E^E= 


II 


Ex.  141. 


-tf 


feipii^fpEi 


Ex.  142. 


E=E=F:== 


J^fc^f 


t=t 


SI 


-* 1*- 


=f= 


Ex.  143. 


=t==3 


:r 


==3 


-* -»- 


=t 


Ex.  144. 


^mtff=g^^g 


rr~tt 


HB 


*==t= 


^^i*1^- 


feffi 


:& 


d 


J^^*^^jS-g* 


^ 


II 


Ex.  145. 


fes 


S 


-r 


S£ 


f121^ 


Pppjgiaj 


fee 


&33=S 


^:Eg_=iE^ 


-M^-=fc* 


iB 


tR 


4n4r   I  I      I  *  II 


New  Second    Rsader. 


A   PRAYER. 


49 


Ch.  Ser.  E,  page  11,  Ex.  \b. 
Robkkt  Burns. 


-4— i— H-— 


-■* — *- 


m 


=£ 


T- 


£3 


? 


bB^ 


O    Thou,  in  whom  we  live  and  move,  Who  mad'st  the  sea  and   shore,  Thy 

-4 


=t 


=1 


:=1 


-* — * 


-* — *- 


^ 


5 


dE3 


«<-*- 


1 


:dt=d— =4 


^^i 


j 


1 


^=4= 


4= 


i*^j 


-<^s 


good  -  ness     con-stant  -  ly      we   jjrove,  And     grate  -ful    would    a  -    dore. 


^£# 


j3^=ji^fl 


THE   WIND. 


CHRISTINA  RoSSETTI. 


ee3    . 


^1 


Mary  Carmichaei,  (arr.) 


:| 


S 


1.  Who    lia.s    seen       the    wind?  Nei    -    ther      I  nor     you;  But 

2.  Who    has    seen       the    wind?  Nei    -   ther      you      nor        I;  But 


sH 


S    1    3=| 


jzL 


w 


p 


:      I    p— 1= 


-=j- 


o 


1= 
wlien    the    leaves  hang     trein  -    bling.The  wind      is      pass    •     ing    through. 

when    the        trees  bow  their  heads, The  wind       is      pass    -    ing      by. 


EH 


3 


^ — :r1"     J    "  H  I     i 


— »<— 


J 


i-i 


-i 

-22- 


New   Second   Reader. 


r>o 


Ch.  Ser.  E,  page  1. 
Ex.  146. 


Minor. 

Ex.  147. 


3* 


=t 


2d: 


sa 


:^=3=g 


Do,  ti, 

Ex.  148. 


do. 


La,  si, 


la. 


fes 


• 


mw^^^^  ^ 


Ex.  149. 


►    ^  4— *- 


=t 


IJ 


Ex.  150. 


=^: 


-t 


£ 


-r* — » 


fef 


-o- 


ll 


Ex.  151. 


fegp^3 


ffiS=l3 


=£2= 


-&—0- 


t=t= 


:cfc*: 


*     # 


I 


Ex.  152. 

— &—. — 

0 

— <& 

0         m 

.— h 

"T~ j  " 

{O^JZ—^ G^ ~ p 

4- — 

-t 

~4                        1 k 

_j* — *i_ 

J    * 

Tt^^^-rh—H 

— 1 — ■ 

-4 

~j 1 

| 

— 1 

-I  - 

^t>  -  B-4 — ^ -s> — 

-    m       + 

GS 

—S -m 

-¥— 

tJ-4pt 

3-d  = 

§si 


* PC 


p^ 


^H 


3^* 


3=i 


3t 


II 


New  Second  Reader. 


51 


The  Triplet. 


In  the  above  exercise  three  eighth  notes  are  given  the  time  indicated 
for  two.  Triplets,  as  they  are  called,  vary  considerably  from  the  simple 
form  here  given.  Some  of  the  more  common  variations  of  this  figure  are 
the  f ollowiiiQ' : 

1.  The  first  two  notes  of  the  triplet  occur  on  the  same  staff  degree  and 
are  combined  into  one  : 


:  g  -"=3=1=3: 

3- 


:jzj^»-*-3t=J: 


ft         •      -^-     -M- 


2.  This  effect  may  also  be  represented  thus : 


ads 


y=  I-  — -N-ri^   i     -A-i-^r—M— =^r 


=t=t 


•— #- 


3.  The  same  figure  differently  arranged  gives  this: 


-^ 3 ■ f * L   ~>^  3  -    #--— Lg—  3  I f ' ^ — • * ■-■ 


4.  Still  another  common  figure  is  produced  by  prolonging  the  first 
tone  of  the  triplet  (indicated  by  the  dot)  and  making  the  second  tone 
correspondingly  short,  thus : 


3^-^e  ;  y^i--.:  ^gp=^ 


New  Second    Reader. 


52 


Study  of  Triplets. 
Vocal  Drill. 

-it « 3 -1-taBtaHj t_.-L- 


Ch.  Ser.  E,  page  11. 
Ex.  153. 


W^ 


3=3=3 

~0 — -Jl — -0- 


mm 


-3 


-i — i V- a 


S 


Ex.  154. 


H^S 


-q=t 


*   * 


I 


Ex.  155. 

fa 


3=32 


ac^- 


^. 


3 


"W=* 


I 


Ex.  156. 


=3=3: 


tr 


m 


Ex.  157. 


S 


IE: 


-* — *- 


a= 


gM-^F-g 


tr 


Ex.  158. 

-4 — ■#-       ^ -^    9  I     -^ — *- 


:U^^^ 


S 


a 


e=* 


S 


:f£EEEEg 


=R 


fE£^^^ 


1 


Rhythmic  Dictation. 
2         ^.   p^^ 


J^|^||gg^^=^^g^^J 


New  Second   Reader. 


53 


TO   THE   NIGHTINGALE. 


Allegretto. 


Carl  Reineoke. 


W 


=t 


g^E 


==£ 


=i 


1.  Stay       with 

2.  Hushed    are 
;i.     Stay      with 


us,      sweet  song  -  stress,     Dar    -  ling     night  -  in    -  gale! 

grove     and    mead  -  ow,         Lis    -    ten    -    ing       to       thee ! 

us,      sweet  song  -  stress,     Dar    -  ling     night  -  in    -  gale ! 


Send 
Not 

thy 
a 

Send 

thy 

song  re  -  sound-ing 
leaf  -  let  rus  -  tleth 
sonjr       re    -    sound-injj 


hill       and    dale ! 
for    -    est     tree, 
hill       and    dale ! 


Ex.  159. 


=|: 


IS 


i-n^m^m 


Allegretto,  in  a  lively,  cheerful  manner. 

New  Second    Reader. 


54 


Minor  with  Sharp  Five. 


Vocal  Drill. 

Major. 


m 


Minor 


=*rS- 


Ex.  160.     Ch.  Ser.  E,  page  1. 


m^?^iteEE^^t^^^-^^% 


La,      si,       la,    mi,       la,    mi,     si,     mi,       la,     si,     mi,     si,      la,     si,      la. 
Key  to  Ex.  160. 


*# 


i=f=r=E=*^H — *-T 


=t= 


*=3 


gBTQI 


Do,     ti,     do,    sol,      do,    sol,    ti,     sol,      do,      ti,    sol,     ti,      do,     ti,      do. 
Ex.  161. 


Ex.  162. 


^g 


=F 


&?^m=m 


D 


Oral  Tonal  Dictation. 
2  3 


-_fit-CI_ffl"^_ 


llS 


*  ^-g-r^ 


II 


fc 


II 


The  sharp  five  or  Si  of  the  minor  scale  is  not  strictly  a  chromatic  tone,  as  it  belongs  in  the 
scale.  (See  Ch.  Ser.  E,  page  1,  Ex.  3,  4,  5,  and  6.)  "When  the  ear  is  thoroughly  familiar  with 
the  effect  of  the  minor  scale,  this  tone  becomes  a  necessity  to  the  ear,  and  it  will  be  sung  as 
freely  by  children  as  any  other  tone  of  the  scale.  Sing  the  above  exercises  till  they  are  en- 
tirely familiar. 

New  Second  Reader. 


55 


Ex.  163. 


Sr 


-4-F 


s 


i^=*pg=*jl=-F=n-F- 


5=3 


=1F=J= 


1 


1^3§=Si±E3^iS 


3 


t=t==t=t 


= 


ijpifl 


Ex.  164. 


2: 


3^c 


d=t 


= 


f± 


**= 


-j — 

— i 


II 


5. 


LITTLE    SNAIL. 


A.  J.    F0XWET,Ii. 


CI 


Pi^ 


5 


= f- 


=>- 


->   "pil 


1.  Lit  -  tie   snail, come  out      to      me,       I      should  like    thy  form     to     see; 

2.  All !  thou  now    art  creep-ing     out,     And    thy    horns    be  -  gin      to  sprout; 


^PPP§^^ 


-* *- 


3? 


"TJ 


e?  ;  -&p 


:=>=!= 


P 
t=- 


£^^ 


Rest    not     al  -  ways   in       tliy    cell,   Where  thou  dost     de  -  light     to  dwell. 
This  way,  that  way,  how    they  bend !  Have    they  eyes     up  -  on       the    end? 


i=E 


=1= 


===et=? 


*  0?0 


=* 


^^m 


New  Second  Reader. 


56 


Minor  with  Sharp  Five. 


Ch.  Ser.  E,  page  1. 
Ex.  165. 


Ex.  166. 


Ex.  167. 


Do,ti,  re, re, do. 


* 
La, si,    ti,ti,la. 


fe^i^Bte^a^^^^a 


Ex.  168. 


fc= =q= 


&EEi 


£^* 


n=i 


-d +-. -wt- 


-z\ 


II 


Ex.  169. 


±==tz=t 


#* 


Sl^^^iil 


Ex.  170. 


^^^Ig^^^^^^l 


Ex.  171. 


BEF^E^EgEg^E^F: 


SES^3 


=j=t= 


H 


I! 


Ex.  172. 


:^=^ 


feEE£EEgE 


Ex.  173. 


;£e3to^= 


afea 


^HH 


e= 


1 


~&~ 


"H: 


*_LeJ 


jgepflpjfflgj^l 


New  Second   Reader. 


57 


Ex.  174. 


^=3= 


mi 


L_I^E 


WZZIjT 


-U±= 


S^HB 


^ 


:BE^ 


5L £+-$*-*-+ 


^==5 


T^T 


Ex.  175. 


-ff * — *- 


=fc 


1^1 


EVENING    HYMN. 


Franz  Abt. 


MS    « 

►      8 


d 


-T«     m-      T^-r-    -0 0— 0    9     0    - 


1.  Even-ing  spreads  her  mantle         O  -  ver  lake   and  lea ;  Now,  while  all    is 

2.  When  the  night  de  -  scend-eth       O  -  ver  all      the  land,  Tran-quil    is     my 


%\ 


^'-'^.mm 


mf 


d: 


S^gi^g 


si-lent,  Let  me  tran-quil  be  !         Heed  my  childish  sor-row,  Fa-ther,  hear  my 
spir  -  it,     Rest-ing  in  Thy  hand.  Thou  wilt  keep  me,  guarded,  Thou  wilt  hear  my 


p 


prayer;     All    my  faith    re  -  pos    -  es        In      thy  heav'n-ly      care! 


mf,  mezzo  forte,  moderately  strong. 
New  Second  Reader. 


58 


MAY. 


*m 


Franz  Mair. 


S=^ 


--? 


=1  =fc=£ 


=1— « 


1.  Tra  la,    tra   la,     tra     la! 

2.  Tra  la,    tra   la,     tra     la ! 


The  morn-ing  pours  its    gold-en  beams, Tra 
Come,wan-der    in      the  meadows  green, Tra 


m 


B=jv 


zd- 1 


=*c 


=T*d 


:=]=^ 


d 


^eh: 


tt5 


fc^ 


=ft 


w  * 
-«  ff 


-^ .  #  *i  » 


=£ 


3 


*=i 


*=£g^ 


la,  tra  la,  tra   la!        And  ear-ly  wakes  us  from  our  dreams,  While  balmy  air   in- 
la,  tra  la,  tra   la!     Where  flow'rs  in  rich  ar-ray  are  seen  ;  There  join  then  -  ni- 


*& 


=1=1* 


>' 


*    * 


» 


vades  our  home,  And  woos  us    in      the  woods  to  roam  ;  The  trees   in   fair  -  est 
ver  -  sal   joy,    Let  pleasure    ev  -  'ry  tongue  em-ploy  ;   U  -  nite  with  birds  and 


zt 


=): 


IfiEQ* 


=js; 


=f* 


^fc£ 


-I t=— hgiF-ta-F--^^ ■-*-+- 


CT~1^t 


Z*=3t+-1r. 


HHI 


garb    ap-pear,  For    love 
car  -  ol  clear.  For    joy 


ly      May,       For  love  -  ly    May   is    here, 
ous     May,       For  joy  -  ous    May   is    here. 


v    ft-* 


3 


3 


=t=h 


S 


!*^=^ 


l^'    w  -0 — L-0— — -S — v ^— L  ^ n 


New  Second  Reader. 


Ch.  Ser.  E,  page  9. 
Ex.  176. 


Study  of  Rhythm. 


59 


to^pn 


g^gF^S^fl 


Ex.  178. 


h±±£ 


:ftz 


=fc 


=N 


*=£ 


P gf 


£ — 3— 0- 


Ex.  179. 


glg^^S 


Lr. 


^ 


£3£ 


Ex.  180. 


#=* 


SS 


-    3  W--—0- 


=F=I=F 


^ 


^^B 


Ex.  181. 


61 


=*^ 


i^H 


^SH 


Ex.  182. 


[fe^/i^S 


=^i— *=f 


SS1CZM 


Ex.  183. 


i  ^  eSp^^pp  r-  *  i  -  -¥^rxi 


The  above  drill  exercises  should  be  sung  at  first,  with  three  beats  to  a  measure,  but  when 
the  movement  is  mastered  one  beat  to  a  measure  should  be  given.  When  correctly  sung  in 
that  manner  they  lead  directly  to  six-eight  miter  and  give  the  pupil  power  to  sing  six-eight 
meter  readily,  giving  but  two  beats  to  each  measure. 

New   Second    Reader. 


60 


THE   STARS. 


Slowly. 


f^£^fesE=M* 


<— W 


S^ 


1.  How  pret-ty    is     each  lit  -  tie     star,  Each  ti  -  ny  twin-kler,  soft  and  meek  !  Yet 

2.  Thev  tell    the  glo  -  ry      of    the    Lord,  And    of    His  fa-ther's  love  for    all.     He 


-0-      -9-      -»-      -9-       tt  -9- 


^=jr 


< 


=fc 


S 


H 


ma  -   ny      in   this  world  there  are      Who    do    not  know  that  stars    can  speak, 
made    the    star,  the  fiow'r,  the    child,  And  cares  for  them,  the  great  and  small. 


gE=fE3EE*a*E£E^£pgE^E^£E3^ 


Ex.  184. 


§^ 


^ees=& 


=t= 


t 


3^= 


^ — * 


=1: 


:«: 


H 


==Ee2-=«^=S 


i=3^ 


1 


New   Second   Reader. 


61 


A  CRADLE  SONG. 


the  waves  are      roll  -    ing       in,     White  with  foam,  white     with  foam ; 

2.  Hush,  the  winds  roar  hoarse    and     deep!     On     they  come,    on        they  come; 

3.  Hush,  the  rain  sweeps  o'er        the  knowes, Where  they  roam,  where   they  roam  ; 


Fa  -  ther  toils 

Broth  -  er  seeks 

Sis  -  ter   sroes 


a  -    mid     the    din,     But 

the       la    -  zy  sheep,  But 

to      seek   the  cows,  But 


ba  -  by  sleeps 
ba  -  by  sleeps 
ba    -  by  sleeps 


at 
at 
at 


home, 
home, 
home. 


THE  CARNATION. 


Edward  Oxenford. 

Softly  and  evenly 


ClRO  PlNSUTI. 


:^:4=±^ 


1.  All  fair       to      see,    in   garb   of  red,  Thy  love  -  ly    bios  -  soms  stand,       As 

2.  Like    in  -  cense  on     the  balm-y    air  Thy  won-drous  scents  up  -rise,      And 


^S 


—d—d — ? 


S 


=t 


^Si 


iS 


*=±* 


deck      the  smil   -  in<r  land  ! 


-\ 


II 


y      hearts  had  bled       To 
charm   the  birds   that     hov  -   er  there     O'er -come    by  sweet   sur- prise! 


p^HS3=|  p  •  ^pH 


*  For  chromatic  study  for  this  song,  see  Ch.  Ser.  E,  page  11,  all. 
Give  but  two  beats  to  the  measure. 

New  Second  Reader. 


62 


UP  YONDER  ON  THE  MOUNTAIN. 


Ch.  Ser.  E,  page  0,  Ex.  2. 


Cari,  Reinecke. 


=fc=*^ 


m 


mi 


fc=fc— t-z 


1.  Up  yon  -  der  on      the    moun-tain,  There  stands     a     house       so 

2.  Had  I         the  wild  dove's  pin  -  ions,       I'd        fly      o'er      all         the 

3.  A  pret  -    ty  house    I'd     build    me,      All         of        the      clo    -    ver 

4.  And  when    the  house  was      fin  -  ished,    I"d        wish   from  Heav'n     a  - 


high  ; 

And 

from 

it 

land 

To 

seek 

my 

green ; 

I'd 

roof 

it 

bove 

A 

lit   - 

tie, 

ev  -  'ry    morn  -  ing     Two  tur  -   tie    doves      do 

lit  -  tie    broth  -  er,     And  take     him      by        the 

o'er  with    box  -  wood    And  flow'rs    of      gold   -   en 

lit  -  tie       ba   -    by,      To  be       my      tur    -    tie 


=fc 


*: 


-£=£■ 


fly,      And  from     it  ev  -  'ry  morn  -  ing      Two  tur  -  tie  doves     do  fly. 

hand,     To    seek     my  lit  -  tie  broth  -  er,     And  take  him    by       the  hand, 

sheen.    I'd      roof      it  o'er  with  box  -  wood    And  flow'rs  of    gold-  en  sheen, 

dove,     A        lit    -  tie,  lit -tie     ba    -  by,       To  be     my    tur  -  tie  dove. 

Ex.    185. 

*■£ 


± 


=p=±f 


3 


m 


p^E4="^ 


p^HH 


-0-0--*— i — f^-  — \-0-\ 


f=tz+~j£3^& 


gg^I 


*m 


New  Second   Reader. 


63 


Chromatics. 
Ex.  188. 


Ex.  189. 


t) 


II^^1pi§m^iiill^ 


Sol, la,  ti,    do.  He, mi,  li,     sol 

Ex.  190.  Ex.  191. 

^M  Ala  JF^FFa 


Do,    ti,  la,  sol,  do. 
Ex.  192. 


Sol,  li,  mi,  re,  sol. 
Ex.  193. 


i^^SilpllliiSp 


Sol.fi,  mi, re,  do. 


7Z4 ~~^r- 


XT 


^4r-  r- 


. 


~1  - 


-: 


0       p 


Mi.fi,    sol, fa,  re,  do. 


4=frSj£j 


Ex.  194. 


V 


H^m^ 


■& 


*  b^^=F 


^gpsgpl 


Ex.  195. 


Ex.  196. 


fcgEggE 


THE   MORNING   STAR. 


mm 


^^p 


Caul  Reinecke. 


i?i:- 


w 


^^ 


So    ear  -  ly  why,  and  whence  so  far,    U     la-  dy  bright.fair  morning  star.In 
l'he    lit  -  tie  birds  up  -  on    the  true  Have  just  be  -  gun  their  ti    -    ri  -  lee,  As, 


^S 


n 


splendor  rare,    A  gold -en    glo  -  ry      in     thy  hair.W  ith 

his  mate  good  day. And, 


ra -diant  robe    of 
wak-ing    on      the    leaf  -  y  spray,  Each  wishes    to 


\  m  m 


/7\ 


0  •* 


ir 


.  .V'11 


shin -ing  eves     so    clear  and  hi ue  All     fresh-  ly    bathed  in  morn-ing  dew  ? 
hear ! now, from  the  chap  -  el  there, The   tin-  kliugbcll    that  moved  the  air. 


N»w   Sxcond    Reader. 


64 


SONG  HARMONIOUS. 


Allegretto,  dolce. 


jfczzj: 


* fr t 


\m     gi  J: 


When  song      liar  -    mo  -  nious,  liar  -  mo  -  nious  shall      re    -  bound,       Jn 

mf 


-i       1    t 


m 


z£ 


d" 


=*: 


ech  -  oes,        in         ech    -  oes      from      the        vast        pro   -   found,     "When 


^=r= 


=en 


SEE— *-* — *-B= 


*=£: 


^t=^ 


w= 


:* — K~ 


song     har   -    mo-nious,  liar  -  mo  -  nious  shall     re  -  bound,       In     ech- oes,        In 


:i 


=f 


rpczjr 


-■+—*- 


song      har    -     mo 


nious  shall 


re  -  bound, 


In    ech  -  oes 


s^ 


^P§ 


1        1        ft— 


_q 3_  p_ 


I 


ech  -  oes  from    the    vast       pro  -  found,  The  earth 


shall  catch, 


shall 


:fe=^- 


^=3V 


=!*= 


:fc^ 


=fc 


from 


the     vast  pro  -  found, 


The  earth 


« 


^=^ 


F 


±=^ 


shall  catch, 


II 


catch  the  charming  sound,  with  wide,  with  wide     -     dif  -  f us  -  ing    joy. 


:±z 


*^ 


=^=^ 


=Jr 


■■*—■*- 


•=i — p 


232 


II 


shall  catch  the  charm-ing  sound,  with  wide,  with  wide-dif  -  fus  -  ing      joy. 


Dolce,  softly  and  with  expression. 


Naw  Second  Reader. 


65 
Rhythm. 

The  presentation  and  analysis  of  the  dotted  eighth  note  followed  by 
the  sixteenth,  to  be  sung  as  one  beat,  ,™5 ,  is  fully  given  in  the  chart. 
There  are  two  principal  ways  in  which  this  figure  may  be  conceived. 
(  1 )  It  may  be  developed  as  a  modification  of  two  eighth  notes  to  the  beat; 
thus  B  may  be  considered  as  a  modification  of  A. 
A  B 


Or  (  2  )  the  figure  may  be  developed  from  the  sixteenth  note  thus :  — 
a  b  c 


loo,loo,loo,loo,loo,loo,loo,loo,loo-oo-oo,loo,loo-oo-oo,loo,  loo, loo, loo, loo,     loo. 

In  a  each  note  is  sounded  separately.  In  b  the  first  three  notes  of  the 
group  are  sounded  as  one.  In  c  the  effect  is  shown  to  be  the  same  as  the 
figure  we  are  studying.     This  analysis  shows  the  exact  value  of  each  note. 

Many  variations  of  the  figure  are  now  possible,  but  the  one  which  is 
most  likely  to  occur  in  music  is  represented  by  replacing  the  dot  by  the 
rest. 


Ex.  197. 


Ex.  198. 


Ex.  199. 


4-'      ~ 

New   Second   Reader 


66 


Rhythmic  Study. 


Ch.  Ser.  E,  page  12. 
Ex.  203. 


k^± 


—a — -* — *—- i— 


E=F 


+=3 


j — ^ — ^_  ^ — -  j 


i=i 


+— +- 


^0 


Ex.  204. 


EMz^-^J-aL-tz=r,= 


>^  ^ 


ii^i^^i^l] 


Ex.  205. 


^^^s^m^^^i 


►=£=< 


ip^im 


Ex.  207. 


ffig^^ 


* *- 


13 


Ex.  208. 


Ex.  209. 


tt^nt^^siii 


r: 


M 


Ex.  210. 


=t 


3rf 


g^^^^|^=5=F3=B 


Ex.  211. 


-Azz^l 


^^m 


=t 


=* 


^ 


0 


New   Second   Reader. 


Chromatic  and  Rhythmic  Study. 

Vocal  Drill. 

=j3fc 


67 


Ch.  Ser.  E,  page  5. 
Ex.  212. 


Ex.  213. 


►=4 


?^3 


I 


2=3 


3 


:=].- 


Do,  re, 


ti,  do. 


Sol,  la, 


--P* 


Ex.  214. 

2=3= 


3pE 


=! 


m 


=* 


fi,  sol. 


II 


II 


Ex.  215. 


2 


11^1113111111 


==]^ 


q=t 


Ex.  216. 


2 


m 


Ex.  217.  Ex.  218. 

J— 4— ,-Uk4- i-r-j- 


tr 


3=S=p: 


r  1  'i  r'r 


fe^fe 


p 


s 


33 
3-»- 


*— * 


ii 


^w^ 


.22: 


II 


Ex.  219. 


2==L_    z=tnt 


-•»■ — ^— i-<^ 


Ex.  220. 


I      I    'I 


II. 


apg^lp^gpfl 


3 


In  beginning  three-part  work,  first  allow  the  parts  to  be  sung  separately.     Theu  combine 
them.     Dwell  upon  the  first  exercised  until  the  harmony  is  pure. 
New  Sacond  Reader. 


68 


OLD   ENGLISH  CAROL, 


Andante. 


JFF^ 


^Eg 


=t 


1.  There  came  to    pass      as  God's  will  was,    E'en      as     the     an  -  gei   told  ;  A   - 

2.  Good   peo-ple    all,    both  great  and  small,  The  which  do    hear  our  voice,  With 


:BE5 


i^=* 


EH 


3 


^3^=j==t=iEE3 


J*— =■ 


g^F 


I 


Km — h — ^=f=1-— 


t= 


:s2: 


5 


3^3S 


K 


bout    mid -night     an      an  -  gel  bright  Came       to      the     shepherd's  fold,  And 
one       ac  -  cord    let's  praise  the   Lord,     And        in      our  hearts    re  -  joice  ;  Let 


=t 


'3=$ 


-&~  77- 


± 


3 


*=i 


±=t=t 


-^zzaL 


*=E 


told      to   them  both  where  and  when  Born  was   the   child      our    Lord,       And 
us       be  bound    in       kin -dred  love, "While  we    our   lives      do     spend,    Whilst 


zt 


:± 


+-+ 


-* — ' — 


t= 


p\ » 1 0—. -m- 


H^S 


ist 


^S: 


3S§^i=^l 


all        a   -  long     this    was     the     song,  "All        glo  -  ry   be  giv'n    to      God." 
we     have  space   let's  pray    for    grace,    And        so      let  our  car   -   ol      end. 


=F=^=i=:|       J       1 


j=j^ 


:F 


^=1= 


-&-      -&■ 


Andante,  slowly,  moderately. 


New  Second  Reader. 


69 


Chorus. 


#£ 


1K 


E5 


-* — «y- 


:=p* 


-* — »b 


E 


=^— *- 


d 


Then   sing  we  all,  both  great  and  small,  No  -  el!     No  -  el !    No  -    el!  We 


+ 


8 


fc^ 


F 


;f=. 


=t=t 


is: 


^j^i^^pfl 


may    re  -  joice    To   hear  the    voice     Of      the     an   -    gel      Ga  -  bri   -  el. 


II 


3 


^^sa 


3=±» 


^ 


3=^ 


=s=± 


1* 


Ex.  221. 


tf 


—ft *^J=*-f-— w-^=9 


:?=*=*: 


& 


F — -*—*—-*- 


•^ 


3 


S3^s| 


at^S^ 


^ 


l^^B 


P=p 


"<= 


^c 


^— ^-    -    — L — ^g A s — [^ »^~*— ^^ -**=»* — * •» — 


:s_ 


o 


=1: 


c- 


II 


New  Second  Reader. 


70 


Ch.  Ser.  E,  page  11,  Ex.  1. 
Ex.  222. 

J 


Minor  Study. 

Ex.  223. 


fe)^ife=^gs|| 


Do,       re,       re,        ti,        do. 


Kcu 


z? 


m 


La,         ti,        ti,         si,        la. 


Ex.  224. 


t 


^^^Sl 


m 


3=*: 


Ex.  225. 


m 


-^^^m 


:;=: 


F=J= 


:s?z* 


I 


Ex.  226. 


**=5 


*=ft=q=± 


XT 


:*=h 


L# 1 « — *-L-S> 


3= 


±3*=* 


:SzM: 


I 


Ex.  227. 


Sb4: 


==± 


+ — w 


d=t 


II 


Ex.  228. 


tr 


id=t 


122: 


II 


Ex.  229. 


=2=22=   =b*f^: 
I       I        i       I 


I         i 


Ex.  230. 


gPI^^^S 


^5 


3=S3 


--h — *— ^ 


I 


i=i 


PHE 


Meter  Signature  ;  this  means  that  there  are  two  beats  to  a  measure. 

New  Second  Reader. 


Ch.  Ser.  E,  page  9. 
Ex.  231. 


Study  of  Rhythm. 


-*--*-— *Z 


mz$ — — 


— p— 


=p=p= 


S=g^S5 


Ex.  232. 


El 


.  •_!__*_ 


Si 


_^^ 


35: 


71 


I 


Ex.  233. 

F-     J    X    r«  •  P   1 

— i 1— srfl 

tp          t      Lj=L  n ' — £  J?— -*-*-* 

-J      *         H 

NOW  WITH   THE   RISING,    GOLDEN   DAWN. 


Lyra  Catholica. 


^ITfcH^ 


_EEE^E 


-£-- 


1.  Now  with  the  ris-ing,    golden    dawn,  Let  us,  the  chil-dren     of      the     day, 

2.  ()    may  the  morn  so     pure,  so    clear,  Its  own  sweet  calm  in     us     in  -  still,  A 


WIPS 


re 


=?. 


*-*- 


p=: 


-Q- 


7 


II 


Cast   off  the  darkness    which  so      long  lias  led   our      guilt-y      souls  a  -  stray, 
guile- less     mind,  a       heart  sin  -  cere,  Sim-plic- i  ty       of   word  and     will. 


New  Second  Reader 


0  YE   HOURS. 


Felicia  Hemans. 
vif 


^^m 


*-> — *- 


:=T*: 


S3 


1.  O       ye  hours!        ye      sun-   ny    hours !  Float  -  ing    light-  ly      by, 

2.  O       ye  hours !        ye      sun-   ny    hours!    Are     ye     wast  -  ing   song? 

3.  O        ye  hours  !        ye      sun  -    ny    hours  !    In      your      si   -   lent   flow, 


=£ 


fe£ 


Are       ye   come     with    birds      and    flow'rs,    O 
Doth    wild    urn   -    sic  stream      in     show'rs  All 


:=fed^ 


= 


22=*= 


dors    and    blue      sky? 
the  groves    a  -  mong  ? 


Ye      are   might   -  y,   might   -   y     pow'rs !  Bring      ye     bliss     or      woe  ? 


"Yes!  we    come,       a   -gain     we   come, Through  the   wood-  paths   free; 

"Yes!   the    night   -in-  gale      is    there    While      the     star   -   light  reigns, 

"Ask    not     this —   oh!    seek    not    this!    Yield     your  hearts        a    -  while 


-#*-^-j=3t-tJ==3F 


dim. 


Bring  -  ing   ma  -  ny    a      wan  -  d'rer    home, With     the     bird      and      bee." 
Mak  -  ing     young  leaves  and   sweet    air     Trem  -  ble   with      her    strains." 
To       the     soft     wind's  balm  -   y       kiss,  And      the  heav'n's  bright  smile." 


New   Second   Reader. 


73 


The  Catch  Note. 


Ch.  Ser.  E,  page  9. 
Ex.   234. 

-b- 


m 


d2-^=^: 


1= 


-n-   *      q- 


-i    P      n- 


2S: 


Ex.  235. 


S 


» 
^ 


-=1 *- 


:=j=pr 


— e=>- 


II 


Ex.   236. 


-■d—0-4 


S 


£: 


=t 


I 


Ex.  237. 


feffi 


:^^: 


-I?-"?  »     ~ — !^h-    — l—M—  —I — =^-*- 


=^q 


^Ssi 


•p 


Ex.   238. 


=t 


-* — «- 


E£E£3EdEEEE!E^ 


SiE 


tea 


:#^=l 


" 


,»L^-a_ 


rfc 


^1_*      '      *    (l_f 


*  * 


#  -  # 


! 


u£=3: 


II 


1 


#      * 


l^fj    -   .  |=3=£E^1 


New  Second  Reader. 


74 


SONG   OF   THE   WAVES. 


Ch.  Ser.  K,  page  0,  Ex.  2c. 


Y.  C.  Maker. 


^_ 


r^ 


t 


=*c 


^^ 


:3«^fe3 


1.  Bright  spir   -  its    are      we!  Oh!  who     half     so  free  As       the 

2.  We  flash    clear  and  bright  When  sun's  glad  light  From   the 

3.  We  sport    with    the  breeze         Of  Arc      -        tic  seas,  By 

4 


»S 


^ 


=1* 


Z=pL 


=*: 


=1t 


^ 


-x 


:£==* 


=± 


crest     -    ed  waves  of    the        o  -   cean!How    loud-   ly     we  roar    On    the 
ros     -        y      east  ad-   van   -  ces.     At      night -tide    se-rene,    In    the 

des  -  o   -  late  shores      up  -    leap  -  ing.    We      mir  -  ror    the  blue     Of     the 


9 — « — * — * — <# — 9 — l-^t — -3. — ■•■ 


^=^=*=3 


=£ 


-k 


^§ 


•*=^ 1» E 


^=pi= 


rock-guard- ed  shore,  And 
moon  -  light  sheen,  We 
trop      -      ic"s      hue,     Round 


;=*=£E3S 


1K 


SEEE3 


turn  -  ble  in 
rev  -  el  in 
is  -  lands      of 


wild      com  -  mo  -  tion  ! 
ghost  -  ly      dan  -    ces. 
cor     -    al    sweep  -  ing. 


z^§^g=£ 


=1 


()  -  lio  !    o-  ho!  oh!    who    so  free  as  the    foam-ing  waves  of  the  rolling  sea!  Oh ! 


_ir_ 


-■•-3 


Now   Second    Reader. 


75 


J^^N^fe^^gE^^^^j 


who    so     free    As     the       foam  -  inff  waves  of     the      ris    -    ing1         sea ! 


h±E**=$=* 


» — *- 


::*E^=fc:}s 


^3 


=l=t 


d.    * 


Ex.  239. 

fc=q= 


Ex.  240. 


=.U-,: 


4-j— j-/h^^g:P^^fir*TI#*:*=>v:::rF l-^tv'Fs-'l 


* 


isfe^pi 


i 


Ex.  241. 


*=^ 


Fr 


"i=>     <=^~   ~e>~ 


E^^teg^ 


t^hp; 


si 


3-*-2±= tp-=--i — r#  j^v4h-*-^h 


533Fp 


*-; 


H^p^S^l 


N«w   Second    Raadtr. 


7b' 


WINTER  AND   SPRING. 


mp 


ffi=*= 


J.  Sneddon. 


Z1 


^ 


■*-|: 


§ 


:e?_: 


EE 


Now  Win-ter's  rain  and  snow 


and    storm 


larm  -  ing,  As 


=pqp- TT=f      ,        i pa==]=f  3 

-^-fcjr-  * — *—    — * — 


B3 


Now  Win  -  ter's   rain    and   snow  and  storm    a  -   larm   -   ing,    As 


XT 


S=fa^B 


*=ti 


=*=* 


-*- 


-<S'-^ 


searching-ly  the  wild  winds  blow, 


ex  -  cite    our    fears  ; 


£=4: 


=1 1— 


± 


a^ 


3Z=q^__ * s h 

« -^ 1 4^ h 


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*- 


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search  -  ing         wild  winds.searching  wild  winds  blow,     ex-   cite     our       fears;    . 

3" 


_J 1 z\. 


J 


St 


=tF 


-s>- 


=1= 


£ 


Soon     re  -    viv  -  ing    Spring, 


our    sens  -  es 


charm  -  ing, Will 


B 


J=3± 


J=g 


IZL 


Soon       re    -    viv    -    ing     Spring,    sens  -  es     charm  -  ing,   Will 
-^  dim.  rail. 


!£ 


fc£: 


:»=rz: 


^: 


qs-j — =f 
•±-wt — s- 


- — m — »- 

— * v~ 

bring  back  flow'rs.and  will  bring  back  birds  to  greet  our  eyes, and  to  charm  our  ears. 


i 


=j: 


=t 


?=? 


ist 


bring 


back 


flow'rs, 


and 


birds    to 


?>■- 


charm  our    ears. 


0 

II 


Key  to  above  Chromatics 


^-  * I— — I— 


Mi,    te,     la  Ti,    fa,     mi.  La,    si,  fi,  si         -       Bo,     ti,  la,ti. 

mp,  inezzo  piano,  moderately  soft.     Ball.,  rallentando,  softer  and  slower. 


New  Second    Reader 


77 


OLD   KING   COLE. 


Nursery  Rhyme. 


:^=]=^=*: 


:£ 


g^£ 


--T 


*ZJ*1 


^ 


1.  Old    King  Cole  was    a     mer-ry    old     soul, And    a     mer-ry     old      soul    was 

2.  Old   King  Cole  was    a     mer-ry    old     soul, And    a     mer-ry     old      soul    was 


=1 


*E£ 


I 


.F. 


S 


:fc=£=4=*=£ 


he;  He      called  for     his    pipe,  and    he    called  for    his    bowl,  And  he 

he;  They  brought  him  his    pipe,   and  they  brought  him  his    bowl,  Andthey 


:=jv==£== 


tf 


E 


E 


called    for      his      fid  -  dlers     three, 
sent      him     his      fid  -  dlers     three. 


He      called  for    his    pipe,  and    he 
He    smoked  from  his    pipe,  and    he 


^--^=z>=i 


=£ 


1 


=t 


■II 


called  for     his     bowl,     And     he      called     for      his      fid   -  dlers  three, 
drank  from    his     bowl,     And     he     danced    to       his      fid  -  dlers  three. 


Ex.  242. 


rfcd: 


tefc 


tr 


m 


fe^E  EI 


Ex.  243. 


Ex.  244. 


is: 


=I=F 


b*ESzR3 


0>-4 


r 


II 
II 


Ex.  245. 

~l    ,     - 


7*  ^    J:^33iBEE 


r 


rbr= 


^* 


At  night     I      see     the  stran-gest  things,  Courts  anil  thrones, and  queens  and  kings. 


N»w    Second    Reader, 


78 


SINGING. 


Robert  Louis  Stevenson. 


■jT3-_ 


=*=F 


1.  Of  speo-kled    eggs   the    bird-ie    siugs, And  nests  a  -  raong  the  trees;     The 

2.  Thechil-dren    sing     in      far    Ja  -  pan,  The  chil-dren  sing  in    Spain;     The 


cr 


L    *-_Lit 


=t=t 


=1: 


=js 


a 


s 


=}=: 


c 


fcJ=_-J==t  ■ 


t — r 


=I=F± 


:f=F 


J 


.J 


f=f=^ 


-i 


rJ; 


:=J: 


II 


sail  -  or      sings    of     ropes  and    things,  In      ships    up  -  on       the      seas. 
or  -  jran    with    the       or  -  jran     man      Is       sinjr  -  in°:      in       the      rain. 


Pi 


HYMN   OF   NATURE. 


John  Austin. 


i 


r 


-s?- 


r 


r — r — r 


F^ 


=i=j= 


f 


1.  Hark!  my    soul,    how     ev  -  'ry  -  thing  Strives  to      serve  our     bounteous  King ; 

2.  Wake, for    shame,  my     slug-gish  heart, Wake, and     glad-ly      sing  thy    part; 


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Each     a        dou  -  ble      trib  -  ute   pays,  Sings  its      part   and    then     o  -  beys. 
Learn    of     birds,  and  springs, and  flow'rs, How    to       use     thy     no-  bier  powers. 


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79 


BUILDING. 


Henry  W.  Lonofellow. 


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1 .  In       the  eld  -  er      days    of      Art,  Build  -  ers  wrought  with  greatest  care 

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1.  Lord,  to  Thee      I    lift    my    eyes,    O     my  heart  pre-pare;  Bend-ing  from  the 

2.  All    the     e   -   vil    of    the     day,    By  Thy  grace  for- give ;  Help  me    bet  -  ter 

3.  Keep  me  safe  -  ly  thro'  the  night, Shield  me  in     Thy  love;  Cheer  my  spir-  it 


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star  -  ry     skies,  Hear     my    even  -  ing    prayer,  Hear     my    even  -  ing    prayer. 

to        o    -  bey,  Teach    me     how      to      live,     Teach    me    how     to         live, 
with      a      light   From    the  realms     a  -  bove,     From    the  realms  a     -    bove. 


N«w  Second  Reader. 


~«2 


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80 


Minor  Study. 


Ch.  Ser.  E,  page  11,  Ex.  1. 
Ex.  246. 


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New  Second  Reader, 


81 


HOW  PURE  THE  PEACEFUL  PLEASURE. 


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Which    mark,       in    heav'n-taught 

In      hearts  sin  -  cere       and 

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82 


Vocal  Drill. 

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Major  and  Minor. 


Ch.  Ser.  E,  page  12. 
Ex.  251. 


>    C  -I— -j 

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New  Second   Reader. 


83 

Fine. 


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2.  Sweet     is       the   joy   -    ous     wins  -  pered    sound, 


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Fine,  the  end.     D.  C,  da  capt,  return  to  the  beginning. 

New   Second   Reader. 


84 


Progression  by  Minor  Seconds  and  Augmented  Primes. 


Ex.  256.    Ch.  Ser.  E,  page  11. 


n=q-Jz=i£^^-q=±=l^i£S^==1=^^p=l=^-f| 


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85 


A  SONG  OF  BIRDS. 


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Free    -  ly,        full       and      strong. 


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New   Second    Reader. 


86 


GOLDEN   SLUMBERS   KISS  YOUR   EYES. 


/ 


=K==]: 


1.  Gold -en  slum  -  bers  kiss  your  eyes,     Smiles  a  -  wake  you  when  you  rise; 

2.  Care   you  know  not,  there-fore  sleep,   While  I      o'er     you  watch  do    keep; 


Sleep, pret-ty     maiden,     do      not  cry,  And    1        will   sing     a       lull  -  a  -  by. 


New  Second  Reader. 


87 


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New  Second    Reader. 


^^3^ 


-<s» — c^-L&i- 


88 


Study  of  Flat  from  Below. 
Vocal  Drill. 


La, 


Ch.  Ser.  E,  page  10. 

Ex.  264.  (a)  (b) 


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Mi,      fa,       mi. 

Ch.  Ser.  E,  page  10,  Ex.  la  and  b. 
Ex.  265. 

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Re,      me,     re. 


Sol,      le,       sol. 


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Ex.  266. 


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Ex.  267. 


Ex.  268. 


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Do,       ti,        do,      sol,     do. 


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Ex.  269 


Ex.  270. 


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La,       si,       la,       mi,      la. 


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Notice  that  flat  three  produces  the  effect  of  the  minor. 


New  Second  Reader. 


89 


WHITSUNTIDE. 


Robert  Herrick. 


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When  yew     is     out  then  birch    is      in,  And     ma  -  ny  flow'rs  be  -  side,     Both 


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A   CANDLEMAS   SONG. 


Robert  Herrick. 


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a a — m- » » P- 1 1 1 1 1 — h*— — r* — * — 

V      V      V  V      \         +  ^     l* 


1.  Kin -die   the  Christ-mas  brand,  and  then  Till  sun  -set    let       it      burn;  Which, 

2.  Part  must  be  kept, wherewith      to    tend  The  Christmas  log    next  year;     And 


ig=^=fe!3i 


quench'd.then  lay        it       up        a  -  gain,  Till  Christ-mas  next     re    -    turn, 
where  'tis     safe-  ly     kept,    the  fiend    Can     do        no     mis -chief    there. 


I 


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New  Second  Reader. 


2 


EZ^^Z^l 


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:=r 


->   3 


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90 


Minor. 

Vocal  Drill. 


La, 


Ch.  Sor.  E,  page  in 
Ex.  272.  («) 

Ml ;    1 


(&) 


(c) 


II. 


Mi,     fa,      mi. 

Ex.  273. 

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3TJS— 1     ,    1     =^: 
Do,     ra,      do. 


fa 


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Re,     me,     re. 


Ex.  274. 


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Ex.   275. 


Ex.  276. 


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The  vocal  drill  should  be  practiced  as  suggested  on  pages  5,  6,  7. 


New  Second  Reader. 


KOBEKT  HERRICK. 


THE   MAY   POLE. 

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Ex.  278. 


Ex.  279. 


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New  Second    Reader 


92 


Study  of  Chromatics. 


Oh.  Ser.  E,  page  11. 
Ex.  280. 


a^B 


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Do,       ti,        la,  do,       te,        la,  do,       ti,        te,       te,        la. 


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Ex.  281. 

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Ex.  284. 

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Who's  seen  my  day?  'Tis  gone  a -way,  Nor  left    a  trace     In     a  -  ny  place. 


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Ex.  285. 

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New  Second   Reader, 


93 


THE   NIGHT. 


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1.  Oh,     the     an  -  tumn  night     Has      a     pier  -  cing    sight, And       a      step   both 

2.  Oh,     the    calm  spring  night  Has      a     step       so      light,  And      her   voice     is 


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strong  and     free ; 
mel    -    o     -     dy ; 


And      a     voice    for     won-der     Like    the  wrath    of     the 
And    new    life     she       brings      To      the   world    as    she 

// 


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thun-der  When    he    shouts    to      the      storm  -  y 
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sea. 
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night     Is      all      cold    and   white,  And  she      sing-   eth  dole  -  ful  -   ly. 

night     Is      all     warm  and  bright.And  she      sing  -  eth     a       song     of       glee. 


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s/,  Sforzando,  loud  and  clear.     Molto  espressivo.  with  much  expression. 

New   Second    Reader. 


94 


Study  of  Rhythm. 


Cli.  Scr.  K,  page  9. 
Ex.  286. 


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Ex.  287. 


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Ex.  288. 


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Ex.  289. 


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New  Second  Reader. 


* 


95 


PICTURE  BOOKS  IN  WINTER. 

Ch.  Ser.  E,  page  5. 
Robert  Louis  Stevenson. 

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1.  Sum-rner   fad  -  ing,  win  -  ter  comes, Frost  -  y  morn-ings,  tin-gling  thumbs, 

2.  We   may  see  how      all  things  are,     Seas    and     cit  -   ies,    near    and    far, 


Win  -  dow  rob    -  ins,  win  -  ter  rooks,    And     the      pie  -  ture     sto   -  ry    books. 
And      the    fly   -  ing   fair  -  ies'  looks,    In      the      pic  -  ture     sto    -  ry    books. 


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sing   your  praise, 

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I  lap  -  py  chim 

can 

■  n  ey  ■ 

0 

walk  up  -  on  ; 
cor  -  ner  days, 

F  f   ->    -!   q 

Still     we    find      the     flow  -  ing  brooks     In       the    pic  -  ture     sto  -  ry  hooks. 
Sit  -  ting  safe       in      nur  -  s'ry  nooks,  head  -ing    pic  -  ture     sto  -  ry  books? 


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New   Second   Reader. 


96 


Chromatic   Study. 


Ch.  Scr.  E,  page  11,  Ex.  2. 
Ex.  290. 


^w — 3L- *- 

Ex.  291. 


zf=3=r=fr=* 


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Ex.  292 


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Ex.  293. 


Ex.  294. 


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Ex.  295. 


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am  EEEES 

if-       —^ »- 


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New   Second    Reader, 


Softly. 


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97 


F.  SlLCHER. 


^ 


1.  The 

2    Ere 


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sun        gives 
Thou,         O 


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forth 
Lord, 


his 
dost 


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close 


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light 
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slow    -  ly       sink    -  in< 
voice       to  •    Thee      in 


from     our   sight ;     He        smiles     a  -   dieu      to 
prayer  shall    rise:  "O        Heaven -ly      Fa-  ther, 


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sky       and        plain,    Like        one    who'll    soon      re      -     turn       a    -     gain, 
draw    Thou      near — From       out       my      night     let  morn     ap    -    pear.1 


II 


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98 


Minor  Study 


Ch.  Ser.  E,  page  1. 

Ex.  297. 

A  ~ 


Vocal  Drill 


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Ch.  Ser.  E,  pages  1  and  2. 
Ex.  298. 


Ex.  299. 


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Ch.  Ser.  E,  page  10,  all. 
Ex.  300. 


Ex.  301. 


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The  sharps  or  flats  used  in  the  key  signature  affect  the  pitch-names  of  the  staff  degrees  on 
which  they  are  placed.  Thus  if  a  sharp  (if)  is  placed  on  the  degree  lettered  F,  we  no  longer 
call  this  degree  F,  but  F  sharp.  In  the  same  manner  if  a  flat  (b)  is  placed  on  the  staff  degree 
lettered  B,  we  call  this  degree  B  flat. 

New  Second  Reader. 


99 


THE  CHILDREN'S  BIRTHDAY  GIFT. 


Joyously,  but  not  too  fast. 


F.   SlLCHER. 


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2.  It  is 

3.  "Twill  soothe 


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let 
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gold 
heart 


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dear 
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On 
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deep 


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thy 

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fab    -    ric 
so   -  e*er       the 


birth ;      More    firm    than 


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rare;         By     God's  own  hand     'tis      wov   -    en,       By      God's  own  hand     'tis 
wound;     See,    'tis       our  arms,   dear   moth   -  er,      See,     'tis       our   arms,  dear 


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To      clasp  thy 

That      fond     -       ly 


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neck 
clasp 


earth 
fair ! 


1 


so 
thee       round  !  .   . 


New  Second  Reader. 


100 


Study  of  Rhythm. 


Ch.  Ser.  E,  page  9. 
Ex.  304. 

:i2— 


Ex.  305. 


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New  Second  Reader. 


LITTLE  CLOUDS 


101 


Mary  Chater 

4 


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1.  High        a    -    bove      us      slow  -    ly         sail  -  ing,  Lit    -  tie      clouds    so 

2.  "When    the        sum  -  mer     sun         is        shin  -  ing,  And      the       sky        is 


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soft        and      white.      You        are        like       the      wings     of  an    -    gels, 

blue         a     -     bove,      Then      you       look         at        us        and       send        us 


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Watch  -  ing       o'er        us  day        and       night,     You        are        like        the 

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wings       of  an     -    gels,  Watch  -  ing       o'er        us        day       and      night, 

us  and        send        us         Ha  -    diant    smiles     of  joy       and        love. 


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New   Second    Reader. 


102 


Ch.  Ser.  E,  page  6. 
Ex.  308. 


Chromatic  Study. 


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Sol,  fa,     mi. 
Ex.  312. 


Ex.  309. 


Ex.  310. 


Ex.  311. 


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Ex.  315. 


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Ex.  316. 


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Oral  Tonal  Dictation. 

3  4 


2*    ^     S2-| 


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II 


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New  Second   Reader. 


103 


0   MOTHER  TONGUE. 


John  Guard. 


E.  S.  Engelsberg. 


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1.  O     moth  -  er  tongue,  thine      ev   -  'ry     tone        Is       dear   and  sweet        to 

2.  A  -  gain       I      seem       to        be        a     child:     All      care      is     lull'd       to 
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me.       My     throb  -  bing  heart  must    turn    to    stone   Ere      it       is    cold      to 
rest ;    Life's  spring-time  breathes  her  whis-pers  mild  Once  more  with  -  in       my 


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thee.    Thou    hold  -    estthralTdmy    will  -  ing  mind,     As  though  my  moth-er's 
breast.  The      vis    -     ion     of       my       fa  -  ther's  face  Comes  back     a  -  gain    to 


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arm       A -round  my  neck    a-  gain  en-twined    Its    soft  per- sua -si  v«  charm, 
me,       As  when      at  home  in      old  -  en    days       I    stood  be -side    his  knee. 


New  Second  Reader. 


104 


Study  of  Flat  Three. 

Vocal  Drill. 


^EBEE1 


w^3 


r^l=a^ 


Ch.  Ser.  E,  page  10. 
Ex.  317. 


-* — u-c* 
La,  do, mi,  la,  mi, do,  re,  ti,        la. 


=i — —i= 


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Ex.  318. 


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Ex.  319. 


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Ch.  Ser.  E,  page  10,  Ex.  1,  2,  3. 
Ex.  320. 

... 


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* — « — H* — *— L— ^  - 

me,  me, 


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mi, 


Ex.  321. 


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II 


Ex.  322. 

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Ex.  323. 


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II 


Do,  re,  ti,  do. 


Ex.  324. 


La,  ti, 

Ex.  325. 


si,  la. 


New  Second  Reader. 


105 


THE   BEES. 


*      i*     i*     u»     1*      I        k     I*      i*     U     i*     £      f        I* 

For  months  of    win -try      lei-  sure,  The    bees    re  -  quit  -  al     make,  And 


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loads     of      sum  -  mer      treas    -    ure    From    na  -  ture's  store  they   take. 


^a 


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II 


0   THOU    WHO    KINDLY    DOST   PROVIDE. 

Robert  Burns. 


— F  -Lr  —  f — t- — i — LF — i — i — r-  -h — i — F— F==tzF — *-f=^ 


1.  Oh  Thou  Who  kind-ly     dost  pro -vide  For   ev  -  'ry   creature's  want !    We 

2.  And    if       it  please Thee.heav'nly guide, May  nev-er  Avorse  be   sent;     But 


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bless  Thee,  God    of       na  -  ture  wide,  lor     all     Thy  good-ness     lent. 
wheth-er     grant-ed       or       de  -  nied,  Lord,  bless    us    with    con-  tent. 


I 


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New   Second   Reader. 


106 


Amiinilino. 


n  3m 


Hush    -   a 


HUSH-A-BY   BABY. 


C.  H.  Lewis. 


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^lndantuio,  somewhat  slowly  or  moderately. 


New  Second  Reader. 


107 


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^— U— U- 


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the         tree 


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rit.  e  dim.,  ritardando  e  diminuendo,  slower  and  softer. 

New  Second  Reader. 


108 


NOW  WINTER   HAS   RESUMED. 


J.  s. 


-tf-   — W- 


j^=^ — 3=^= 


Now       AVin      -     ter  has  re     -     sumed         his  pow     -    ers, 


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North    winds  blast     the     flow'rs,       Each 


vio    -    let    drops    its   with  -  er'd    head,  The      ros    -    es        all  are    dead. 


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New  Second  Reader. 


109 


Vecal  Drill. 


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Ch.  Ser.  E,  page  10. 

Ex.  327.  Ex.  328.  Ex.  329. 

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Ex.  330. 


Do, re, me. 


Ex.  331. 


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New  Second   Reader. 


110 


Vocal  Drill. 


Ex.  336. 


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SOFTLY   GLIDE,    GENTLE   NIGHT. 


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1.  Soft   -    ly     glide,        gen    -     tie    night,     O'er     the    fields  with  dew        im  - 

2.  Pure      and  clear,        calm,      be  -  nign,      See      yon    gold -en     even    -  ing 


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31 


New  Second   Reader. 


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111 

4-, 


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^      1^1    i    i     i    r°v  r   i 

pearled ;    Smile,     0    tran  -  quil     star  -   ry    night,    On         the     si      -       lent 
star;         Lord,       is    this       a       glance  of     Thine, Dark  -  ness   seat  -     t'ring 


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sleep  -  ing  "world !  Sick  -ness    and      sor     -       row, hush    them  to      rest; 
near      and  far  ?    I  lea  v  -  en  -    ly        splen    -    dor  light   us       to      rest; 


d2 


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Bless  us,       and      rock 
Fa  -  tlier  -  hand    ten 


us      in  dreams  on  thy  breast. Sick-ness  and  sor  -  row, 
<ler  keep    us        still       blest.  Ileav-  en  -ly  splen-dor 


^EEg^L  j^~  J^EE^^k^^. 


9 


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r~r — t  "  r  ~r  -^i-r-;  i    *j>  t — ir-pr 

hush  them  to  rest ;    Bless    us,       and       rock    .      .    us  in  dreams  on  thy  breast, 
light  us  to     rest  ;      I'a  -  ther  -    hand     ten     -  der     keep      us  still  blest. 


BE 


New   Second   Reader. 


112 


FRIENDSHIP. 


W.  A.  Mozart. 


hand 

all 

faith 


we 
the 
and 


join        de    -    light 
powers    of         na 
truth     re    -    pay 


ed,  Raised 
tnre,  Praise 
Him       For 


by 

Him 
His 


love         and 
for  His 

grace       and 


thought  sub  -  lime  ; 
wise  de  -  cree, 
irood  -    ness    shown 


T=r 


The  natural  removes  the  effect  of  the  sharp  or  flat.  Here  the  staff  degree  on  which 
Fa  comes  has  been  affected  by  a  flat  in  the  key  signature.  The  natural  removes  the  effect 
of  the  flat  and  the  tone  is  raised  from  Fa  to  Fi. 

When  a  natural  is  applied  to  a  staff  degree  which  is  affected  by  aflat,  the  natural  indicates 
a  higher  pitch. 

New  Second  Reader. 


±— 


-h 


itfc 


3 


Vir    -     tue's 
Of  our 

In  each 


bond 
earth 
kind 


ZZt 


t=t 


will 
lv 
ly 


last 

joy 

act 


=t 


S^ 


tor 
and 
ex 


^--z±: 


ev 
pleas 
tend 


113 


er, 
ure, 

ed ; 


«E 


Stead 
Lead 
These 


I 

fast 
ing 
He 


' 


through 
us  .  .  . 
ev 


-c*- 


i — c-r-    * 


the 

from 

er 


storms 
ill     . 
deisrns 


=t 


r 

of  time, 

to  flee, 

to  own, 


=g=*: 


i^^fc= 


S3: 


I 


R=^ 


Stead 
Lead 

These 


fast         through       the  storms 

ing         us   .    .         from         ill    .   . 
He         ev         -       er  deisms 


r 

of  time, 

to  ilee. 

to  own. 


HO 


Oral  Tonal  Dictation. 
3  4 


II 


^_<=2- 


-t^-  -O- 


:fc_T    II   *    ^fc    *   II 


->    «  fc    ^ 


II 


Rhythmic  Dictation. 
4  3 


ta^S^ffl^SS^H 


New   Second    Readar. 


Ill 


SUMMER. 


Ik  VNK  IlKyiUKTTA. 


Joseph  Haydn  (adapted.) 


Slowly. 


bowers    With 

yield  In 

seen,         The 


gems,      with 
wealth,       in 
young,      the 


gems 
wealth 


young, 


both 

of 

the 


rich 

rip 

old 


and 
'ning 
and 


f  r 


t  rees — 

All 

earth, 

all 

earth 

looks 

bright 

and 

sea. 

Wide 

o'er, 

wide 

o'er 

the 

cheek 

-    ered 

there 

Be    - 

neath, 

be    - 

neath 

the 

haw     - 

thorn 

:j= 


d 


L— & 


New  Second  Reader. 


115 


field  and 

in  the 

all     hearts     so 


-9-  -*-  S- 


=£2- 


fell, 

beams 
dear, 


Sweet 
Of 
Oh! 


songs, 
Pho3 

tar 


sweet       songs 
bus',        Phoa 
•  rv,         tar 


of 

bus' 

rv 


praise 
rays 
yet 


we 
so 
a 


hear,         Whose      va 

bright ;  Like      threads 

while,  To  bless 


ried 

of 

the 


notes, 
gold, 
wea  -  rv, 


from 

by 

with 


ti 

wood 

looks 


or 
so 


m  feri 


throats,     Make     glad,         make     glad 
wold,         They     speed,        they     speed 
chtcr -y,      And      lion       -      nie,      bon 


the  lis 
their  on 
nie,       win 


r 

t'ning  ear. 

ward  flight, 

some  smile. 


I 


:  1 


& ■ 0 hrf — } 


-    t- 


II 


New  Second   Reader. 


110 


OUR   LIFE   IS   LIKE   A   RIVER. 


Fki,ix  Mendelssohn. 


E^fiE 


er,  Our  life  is 
lows,  Some-times  in 
ows,  Some-times  in 
ward,  But    ev    -    er 


curves  and 
creep  -  ing 
on  -  ward, 


"9 


seek  the  might-y         o-cean,  As        on  -ward  light  -  ly 
times    in    rush-ing    rap  -ids,  Where  waves  the  dan-  ger  pro 
non    by    sun  -  ny    land-scape,  A  -  flame  with  quiv  -  er  -  ing 
car-ried   to     the       o-cean,  We 


lind  our  home  on    its 


float, 
claim, 
light, 
breast, 


As 
Where 
A- 
We 


tztzz 


^=$* 


=^^=1^ 


s^=fi 


m 


Ssfe 


pp 


:"EB: 


II 


light 

iy 

dan 

■       ger 

quiv 

er 

home    . 

on 

we 
pro  • 
ing 
its 


float. 

claim, 
light, 
breast. 


as  light-ly 
the  danger 
with  quiv-er  - 
our  home  ou 


pro 
ing 
its 


float, 
claim, 
light, 
breast. 


New  Second  Reader. 


PART  II.    FAMILIAR  SO^GS, 


SWEET   AND    LOW. 


Alfred,  Lord  Tennyson. 


Joseph  Baknbt. 


, Q 


£g: 


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1.  Sweet  and  low,     Sweet  and  low,     Wind  oi     the      west    -    ern       sea. 

2.  Sleep  and  rest,      Sleep  and  rest,       Fa-ther  will  come  to     thee      soon; 


Low,     low,        breathe     and    blow,  Wind  of      the       west    -     ern       sea ! 
Rest,     rest,       on  moth-er's  breast,     Fa  -  tlier  will    come  to    thee       soon : 


v=£: 


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v 


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(J  -  ver    the      roll     -     ing      wa     -     ters    go,     Conn;  from  the      dy      -      ing 
Fa-ther  will    come  to     his    babe  in     the    nest,      Sil  -  ver  sails    all  out 


:qv-3 


; 


-— u — 1= 


=i — „— i 


:t>* 


moon,         and    blow,       Blow    him         a  -    gain         to  me ;     . 

of  the     west  Un  -    der       the      sil     -     ver        moon : 


i 


^ h ift: 


A^fe 


II 


While     my      lit     -    tie    one,  While    my      pret  -    ty    one,    sleeps. 
Sleep,     my      lit     -    tie    one,  Sleep,    my      pret  -    ty    one,    sleep. 


New    S«cond    Read«r. 


(117) 


lis 


CRADLE    HYMN. 


Isaac  Watts. 


J.  J.  Kousseatt. 


4  '  ^L 

1.  Hush,    my 

2.  Soft        ami 
;>.  Hush,    my 


:: 


babe,     lie       still     and      slum-ber,      IIo  -    ly  an  -  gels 

eas  -  y  is       thy        era  -    die,  Coarse    and      hard    thy 

child,   I  did      not        chide  thee,  Though  my       song    may 


3 


guard  thy 
Sav  -  ior 
seem    so 


afccj: 


bed,     Heav'n  -  ly 
lay,       When      His 
hard ;      'Tis         thy 


3 


3^3 


53== 


*  » 


bless  -  ings     with  -  out  num  -  ber 

birth  -  place    was         a  sta  -  ble, 

moth  -  er         sits        be     -    side    thee, 


-P* 


(ien 

■    th- 

fall - 

ing 

on 

tin- 

And 

ins 

soft  - 

est 

bed 

Mas 

And 

her 

arms 

shall 

be. 

thy 

head.     How      much     bet   -     ter 
hay.       Oh,        to  tell         the 

sruard.  May'st    thou     learn        to 


s 


-r 


4= 


SezH 


V 


thourt  at     -   tend  -  ed     Than     the      Son      of      God    could    be,     When  from 
won-drous      sto  -    ry,     How     His     foes      a  -  bused  their    King,  How    they 
know  and        fear    Him,  Love    and     serve  Him      all       thy     days ;  Then  to 


ill^lii 


heav  - 

en 

He 

de 

killed 

the 

Lord 

of 

dwell 

for 

-  ev  - 

er 

scend-ed,     And      be    -  came     a 
glo  -  ry,  Makes    me         an  -  gry 
near    Him,  Tell      His       love,  and 


child    like      thee ! 
while  I  sing, 

sing     His      j51*^86- 


New  Second   Reader. 


MASSA'S   IN   DE   COLD,    COLD   GROUND. 


119 


Stephen  Collins  Foster. 


Stephen  Collins  Foster. 


1.  Round   de   raead-ows  am      a     ring -ing      De  dark  -  ies'  mourn-f  ul  song, 

2.  When    de     au-tunin  leaves  were  fall-ing,         When   de    days  were  cold,  'Twas 

3.  Mas-  sa    make  de  dark  -  ies  love    him  Cayse   he    was     so     kind; 


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While  de  mocking  bird  am  sing -ing,    Hap-py     as     de   day     am       long, 
hard    to  hear  old  mas  -  sa  call  -  ing,  Cayse  he    was    so  weak    and      old. 
Now,  dey  sad  -  ly  weep  a-  bove  him,Mourn-ing  cayse  he  leave  dem  he-hind.      I 


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Where  de  i  -  vy  am  a  creep  -  ing,  O'er  de  grass-}-  mound, 
Now  de  or-angetree  am  bloom -ing  On  de  sand-y  shore; 
can  -  not  work  be  -  fore    to    -  mor  -  row,     Cayse    de    tear-drop  How ;  I 


/  ^il^gE2^^=iip  1 1 


Dare  old  Mas -sa    am     a     sleep-ing,      Sleep-ing    in     de  cold,  cold  ground. 
Now    de  s u in- mer  days  am  com  -  ing,      Mas  -  sa    neb-ber  calls    no     more, 
try      to  drive  a  -  way  my  sor  -  row,      Pick  -  in     on     de    old    ban  -  jo. 


Chorus. 


-    J 

: 

-I— 


f  ' 


I 


=m  * 


r 


' 


Down 


All     de  dark-ies 


de        corn      field, 

t 

am      a    wecp-ing 


Hear     dat  mourn -fill       sound: 


Mas-sa's    in 


round. 


New   Second    Reader. 


120 


OFT   IN   THE   STILLY   NIGHT. 


Thomas  Moore. 


V 


Irish  Mklodt. 


^=F 3-T-* 


£= 


^=^= 


1.  Oft      in        the    still -y      night,  Ere     slum-ber's  chain  has      bound    me, 

2.  When    I         re  -  mem-ber       all     The    friends, so   linked  to  -    geth    -    er, 


m 


=£ 


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*=^ 


^^ 


"6* 


Fond  mem  -*ry  brings  the  light    Of      oth  -  er      days     a     -    round  me ;     The 
I*ve     seen      a  -  round  me    fall,  Like  leaves  in      win-  try      weath-er,        I 


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smiles,  the  tears,  Of    boyhood's  years, The  words  of     love  then    spo    -ken;The 
feel     like  one  Who  treads  a  -  lone  Some  ban  -  quet  hall    de  -  sert  -    ed,  Whose 


-in 


*e£=£ 


-*^ — +_ 


**! 


eves  that  shone, Xowdimm'd  and  gone,  The  cheer -ful  hearts  now  bro    -     ken! 
lights    are  fled, Whose  gar -lands  dead,  And    all       but     he       de  -  part    -    ed  ! 


* 


^m 


=*=*-j 


:^V 


1 


Thus       in        the    still  -  y      night,  Ere     slum-ber's  chain  has       bound 


hfa    h    JL 


=fc 


* — *- 


-b»— — H— 


Sad       mem  -"ry    brings  the  light    Of      oth  -  er       days     a     -    round    me. 


New  Second  Reader. 


AULD   LANG    SYNE. 


121 


Robert  Burns. 


g=S-J*: 


=£ 


^^ 


Should  auld 
We  twa 
We  twa 
And      here's 


±: 


ac-  quaint-ance 
hae   run       a 
hae    paid  -  l't 
a     hand,   my 


be 

bout 

i1 

trust 


for  -  got,  And 

the  braes, And 

the    burn  From 

y     frien'.And 


nev  -  er    brought  to 
pu'd   the     gow  -  ans 
morn-  in        sun     till 
gie's    a       hand     o' 


min'  ?  Should  auld    ae  -  quaint-ance  be     for  -  got,  And  days  o' 

fine  ;  But  we've  "wandered  mon-y    a     wea- ry    foot   Sin  auld.  . 

dine  ;   But         seas    be  -  tween    us  braid  hae  roar*d  Sin  auld  .  . 

thine ;  We'll       tak      a      cup         o1    kind-ness  yet    For  auld .  . 
Chorus. 

-ft. fe H     fr 


lang 
lang 
lang 
lane: 


syne 
syne, 
syne, 
syne. 


auld       lang 


*: 


syne,   my  dear,      For 


We'll 


P^S^i=^i^si 


tak 


cup 


kind  -  ness    yet     For 


auld 


lang        syne. 


THE  HARP  THAT  ONCE  THROUGH  TARA'S  HALLS. 


Thomas  Moore. 


£ 


-+■ 


=t 


that  once  through  Ta   -  ra's  halls  The 
to  chiefs  and         la  -  dies  bright  The 


soul 
harp 


of 
of 


mu  - 
Ta  - 


sic 
ra 


shed,     Now  hangs    as  mute 
swells;  The    chord    a  -  lone  (hat   breaks  at    night,  Its 


fled, 
tells. 


So    sleeps  the  pride    of 
Thus    Free  -  dom  now    so 


for 

sel- 


mer    days,  So 
dom  wakes, The 


glo 
on 


rv's 


thrill    is 
throb  she 


o'er ;    And  hearts  (hat  once  beat  high  for  praise  Now  f<vel  that  pulse  no 
gives     Is    when  some  heart  in  -  dig-nant  breaks, To  show  that  still  she 


more, 
lives. 


New  Second  Reader. 


122 


MY   OLD   KENTUCKY   HOME,  GOOD  NIGHT.* 


Stephen  Collins  Foster. 

^^EZ3 


Stephen  Collins  Foster. 

is 


1.  The     sun     shines  bright      in 

2.  They  hunt      no       more      for 

3.  The    head    must     bow      and 


W- 


S 


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the  old  Ken-tuck  -  y  home,  'Tis 
the  'pos  -  sum  and  the  coon,  On  the 
the  back      will  have     to     bend,        Wher 


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sum-mer,      the  dark  -  ies        are      gay,       The  corn  -  top's    ripe     and      the 

mead-ow,      the   hill,  and        the     shore;    They  sing     no     more     by       the 

ev  -  er        the  dark  -  y        may     go ;         A      few    more    days     and      the 


:^3^: 


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3E£ 


mead  -  ow's  in         the  bloom, While  the    birds     make         mu  -  sic      all       the 
glim  -    mer  of         the  moon,     On       the  bench  by  the  old  cab  -   in 

trou  -    ble  all        will  end        In       the   field  where     the  su  -  gar     canes 


■:> 


fe£ 


Si£ 


"r*-* — 0— r*- 

day ;       The    young  folks    roll       on       the     lit    -    tie  cab  -  in  floor,  All 

door ;      The      day      goes     by       like       a      shad  -  ow  o'er   the  heart,  With 

grow ;       A        few     more  days      for       to      tote      the  wea  -  ry  load,  No 


Published  by  permission  of  William  A.  Pond  &  Co.,  owners  of  the  copyright. 


New   Second  Reader. 


»_M^ 


:zzz 


123 


mer  -  ry,  all  hap  -  py  and  bright,  ByV  -  by  Hard  Times  comes  a  - 
sor  -  row  where  all  was  de  -  light ;  The  time  has  come  when  the 
mat  -  ter,  'twill     nev  -  er        be     light;       A       few    more     days       till     we 


tot 


^§ 


3 


I 


f 


-G>— 


*■ ^ I* 

knock -ing    at       the  door,  Then,  my  old  Ken-tuck  -  y  home,  good  night! 

dark  -  ies  have      to    part,  Then,  my  old  Ken-tuck  -  y  home,  good  night! 

tot  -  ter     on      the  road,  Then,  my  old  Ken-tuck  -  y  home,  good  night! 


Chorus. 


Weep        no     more,      my       la    -   dy, 


Oh !     weep        no      more         to   - 


F# 


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day !     We     will    sing     one      song     for      the      old      Ken-tuck   -    y  home, 


For         the        old      Ken  -  tuck   -    y        home        far  a   -     way. 


New  Second  Reader. 


124 


LONG,  LONG  AGO. 


T.  H.  Bayly. 


±=±=i=> 


^5?3 


-■I-*- 


1.  Tell      me    the  tales    that     to      me    were      so     dear,     Long,  long    a  -  go, 

2.  Do      you    re-mem-ber   the    path  where    we      met,     Long,  long    a  -go, 

3.  Though  by  your  kind  -  ness  my    fond  hopes  were  rais'd,  Long,  long    a  -  go, 


Long,  long  a  -  go; 
Long,  long  a  -  go? 
Long, long  a  -  go ; 


Sing  me  the  songs  I  de  -  light  -  ed  to  hear, 
Ah,  yes,  you  told  me  you  ne'er  would  for  -  get, 
You      by  more  el     -    o  -  quent    lips     have  been  praised, 


Long,  long  a  -  go,  long  a  -  go. 
Long,  long  a  -  go,  long  a  -  go. 
Long,    long      a    -    go,       long    a  -  go. 


Xow  you  are  come,  all  my 
Then,  to  all  o'th  -  ers  my 
But        by     long    ab  -  sence  your 


i 


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grief  is  re  -  moved,  Let  me  for  -  get  that 
smile  you  pre-ferred ;  Love, when  you  spoke,  gave 
truth    has  been  tried ;  Still      to    your   ac    -  cents 


so  long  you  have  roved, 
a  charm  to  each  word ; 
I      lis    -  ten   with  pride ; 


Let  me  be  -  lieve  that  you  love  as  you  loved, Long, long  a  -  go,  long  a  -  go. 
Still  my  heart  treas-ures  the  praises  I  heard,  Long, long  a  -  go,  long  a  -  go. 
Blest    as      I      was    when   I    sat     by  your  side, Long, long  a  -  go,  long  a  -  go. 


New   Second   Reader. 


PATRIOTIC  AND  DEVOTIONAL  SONGS. 


AMERICA. 


S.  F.  Smith. 


Henry  Carey  ( ?). 


1. 

My 

conn  -  try ! 

'tis 

2. 

My 

na  -  tive 

coun 

3. 

Let 

mu  -  sic 

swell 

•i. 

Our 

fa  -  tilers' 

God! 

of     thee,   Sweet  land      of 

try,  thee —  Land    of        the 

the  breeze,    And   ring   from 

to     Thee,     Au  -  thor      of 


lib 

-    er  -  ty, 

no 

-   ble  free- 

all 

the  trees 

lib 

-    er  -  ty, 

Of      thee       I       sing; 

Thy    name      I        love ; 

Sweet  free  -  dom's  song  ; 

To      Thee    we     sin<r; 


Land  where  my      fa  -  thers  died  !  Land     of      the 
I         love     thy    rocks    and   rills,  Thy  woods  and 
Let      mor  -  tal  tongues  a  -  wake ;  Let      all     that 
Long    may    our     land     be  bright  With  free-dom's 


Pil-grim's  pride !  From  ev   -  'ry  moun-tain  side     Let  free-dom    ring. 

tern  -  plod  hills  ;  My       heart  with  rap  -  ture  thrills  Like  that      a     -  bove. 

breathe  par- take  ;  Let       rocks  their  si-  lence  break,  The  sound  pro  -  long. 

ho  -    ly  light;  Pro    -  tect     us  by      Thy  might,  Great  God,    our     King. 


New  Second    R«»d«t. 


(125) 


126 


BLESSED   ARE   THE   MERCIFUL. 


Matthew,  v:  7. 


fe^ 


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Bless  -  ed  are    the  mer  -  ci  -  ful    for  they  shall    ob  -  tain 


P 


h       M=iq=H KH=J=   i     1 — ! — t- 


Bless  -  ed  are    the  mer  -  ci  -  ful    for  they  shall    ob  -  tain 


yt- 


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mer  -  cy.Bless-ed  are  the  mer-ci-ful  for  they  shall  obtain  mer-cy. 


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mer  -  cy.Bless-ed  are  the  mer-ci-ful  for  they  shall  obtain  mer-cy. 


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New  Second  Reader. 


127 


ONWARD,    CHRISTIAN   SOLDIERS. 

Rev.  S.  Baring-Gould.  Sir  Arthur  S.  Sullivan. 


— I i 1- 


-uA 


23= 


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r — r 

On  ward,  Christian  sol    -     diers,  Marching  as  to  war,  With  the  cross  of  Je  -  sus 
At  the  sign  of        tri    -    umph  Satan's  host  doth  flee  ;  On,  then,  Christian  soldiers, 
Like  a  might-y       ar     -      my  Moves  the  Church  of  God ;  Brothers,  we  are  treading 


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Go  -  ing    on    be  -  fore!  Christ  the  roy-al       Mas  -  ter     Leads  a-gainstthe    foe; 
On      to    vie  -  to  -    ry !  Hell's  founda-tions   quiv   -  er        At    the  shout  of  praise; 
Where  the  saints  have  trod ;    We  are  not    di  -  vid    -   ed,      All  one  Bod  -  y       we, 

yj      J    -0-    -4-      -e>-     •+■   -J-   -***-   -J-    i&-       •&• 


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Chorus. 


'■i^r 


~l— ) — L-_U4_i^-LJ__|_i     . 


Forward  in  -  to     bat  -  tie,      See, His  banners   go.  Onward, Christian  sol  -  diers, 
Brothers,  lift  your  voi  -  ces,  Loud  your  anthems  raise  ! 
One  in  hope  and  doc  -  trine,  One  in  char-  i   -    ty. 


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Marching  as     to       war,  With  the  cross  of        Jc  -  sus  Go -ing  on     be-  fore! 

-J-    A        I        I  )  I  J.      J* 

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Naw  Second  Readar. 


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128 


Joseph  Hopkinson. 


HAIL,  COLUMBIA! 


Prof.  Phyla. 


r 


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Hail,      Co-lum    -    bia!    hap-  py      land!    '        Hail,  ye      he  -    roes, 

lm  -  rnor  -    tal    pa  -    triots,  rise    once  more !  De  -  fend  your  rights,  de 

Sound,       sound     the     trump  of      fame,              Let  Wash  -  ing 

Be  -  hold      the  chief,  who     now    com-mands,Once  more  to    serve      his 


heav'n-born  band  !  Who  fought  and  bled  in     Freedom's  cause, Who  fought  and  bled  in 
fend  your  shore  ;  Let    no   rude  foe  with     im  -  pious  hand, Let    no    rude  foe  with 
ton*s  great  name  Ring  thro'  the  world  with  loud     applause!  King  thro1  the  Avorld  with 
coun-try  stands  ;  The  rock  on  which  the    storm    will  beat !  The  rock    on  which  the 


fcS 


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Free     - 

dom's 

cause,  And, 

when 

the 

im 

pious 

hand,    In  - 

vade 

the 

loud 

ap    - 

plause !  Let 

ev  - 

'ry 

storm 

will 

beat!  But 

armed 

in 

storm    of        war 

shrine  where    sa  - 

clime,  to        Free 

vir  -  tue,      firm 


was  gone,  Fn  - 

cred  lies      Of 

dom  dear, 

and  true,  His 


*-3 3 * -0 


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joyed  the  peace  your  val  -  or  won.    Let    in  -    de-pend-ence  be    our  boast, 
toil       and  blood  the  well-earn"d  prize.  While  of -f  ring  peace, sincere  and  just,  In 
Lis  -    ten    with      a      joy-ful  ear;  With  e  -  qual  skill,  with  steady  power,  He 
hopes  are    fixed  on  hcav'n  and  you. When  hope  was  sink-ing     in    dis-may,When 


Ev  - 
Ileav'n 

gov  - 
gloom 


er       mind 
we      place 
erns         in 
ob  -  scured 


ful 
a 

the 
Co 


what 
man 
fear 
lum 


it 

iy 

ful 

bia's 


cost ;  Ev 

trust, That  truth 

hour       Of  hor 

day,     His  stead 


er  grate  -  ful 
and  jus  -  tice 
rid    war,      or 

y    mind,    from 


Let      its 
ev  - 'ry 
hap  -  pier 
solved  on 


tar 
of 
of 
or 


reach  the      skies 
bond -age      fail. 

hon  -  est     peace. 

lib  -    er    -    ty. 

New  Second  Reader. 


129 


Chorus. 


S3: 


Firm,     u  -  nit    -  ed 


let 


be,     Ral-lying  round  our       lib  -  er  -  ty ! 


d=^= 


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As      a  band   of      broth-ers    joined,     Peace        and      safe  -  ty     we   shall  find. 


FLAG  OF  THE  FREE. 


Richard  "Wagner. 


strife     and      the     thun  -  der 
God     ■while    His  niiofht      we 


of 
a 


war ;  Ban  -    ner  made  bright 

uore ;     Tn      Lib    -    er   -  ty's     van, 
d.s.  While     thrtf    the      sky 


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with   star  -  ry  li «rlit,    Float     ev  -  er  proud  -   ly    from  nioun  -  lain     to  shore. 
man -hood  of    man,     Sym  -  bol     of  right      thro'   the  years    pass-ing  o'er. 
loud   rings  the   cry,        Un  -   ion   and  Lib    -    er  -   ly !  one       ev   -  cr  -  more ! 


Spread      thy 
Seat     -     ter 


fair 
the 


folds 
cloud 


but 

that 


to 
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shield 
UarK 


and 


to 
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save, 
star, 


New   Second  Reader, 


130 


AMERICA   THE   BEAUTIFUL. 


Katharine  Lee  Bates. 
Maestoso. 


Will,  C.  Macfarlane. 


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•  By  permission  of  the  author. 

Copyright,  1913,  by  Will  C.  Macfarlane. 


New  Second  Reader. 


131 


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Refrain.  Hollo  maestoso. 


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A  -  mer   -    i   -   ca !     A  -  mer  -  i  -   ca !     God   shed     His  grace     on     thee ! 


§§3 


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HEAVENLY  FATHER,  SOVEREIGN  LORD. 

SONGS    FOR    THE    SANCTUARY.  FELIX    MENDELSSOHN. 


Ileav'n-ly    Fa  -  ther,  sov'reign  Lord,  Be   Thy   glo-riousname  a     -  dored ! 

Though  un-wor  -  thy, Lord, Thine  ear  Deij^n  our  hum-  ble  sougs  to  hear; 

While    on  earth      or-dained  to    stay, Guide  our  foot-steps    in      Thy  way, 

Then  with  an   -    gel  harps    a  -  gain    We   will  wake    a     no-  bier  strain; 


^^M 


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Lord,  Thy   mer-cies   nev-er     fail;   Hail,  co 

Pur  -  er   praise  we  hope    to    bring  When    a 

Till     we    come    to  dwell  with  Thee,  Till  we 

There,  in       joy-  ful  songa  of   praise,  Our  tri 

N«w  Second  Roader. 


=t 


i 


II 


les  -  tial  good-ness,hail. 
round  Tliy  throne  we  sing. 
all  Thy  glo  -  ry  see. 
um    -    phaut  voi  -  ces  raise. 


132 


GOD   EVER   GLORIOUS. 


S.  F.  Smith. 


Alexis  T.  Lwoff. 


1.  Cod  ev  -    er        glo 

2.  Still        may    Thy     bless 


ri  -  ous  1 
ing   rest, 


Sov 
Fa 


'reign     of 
ther    most 


na   -    tions, 
Ho   -     ly, 


—<=; 


ner        of       Peace       o'er 
tain,    rock,      riv      -      er, 


3^3 


the        land ; 
and      shore ; 


=t 


=1 


#± 


:s2: 


the     sal    -    va     -    tion, 
in       ho    -    san    -     nas ! 


0 


1 


we        Thy      hand, 
ev    -    er  -   more. 


THE   STAR-SPANGLED   BANNER. 


Francis  Scott  Key. 


Dr.  Samuel  Arnold. 


1.  Oh!         say,    can 

2.  On    the  shore, dim 

3.  And      where  is 

4.  Oh!        thus     be 


you 

see, 

iy 

seen 

that 

band 

it 

ev 

by  the  dawn's  ear  -  ly 
thro'  the  mist  of  the 
who  so    vaunt-ing  -  ly 

er  when  free  -  men  shall 


light,  What  so 
deep,  Where  the 
swore .  "Mid  the 
stand      Be     - 


proud  -  ly  we  hailed   at    the     twilight's  last  gleam-ing?  Whose  stripes  and  bright 
foe's  haughty  host      in  dread  si  -lence  re  -  pos  -  es,     What's  that  which  the 
hav  -  oc    of    war     and  the     bat  -  tie's  con  -  f  u  -  sion,     A  home  and      a 

tween  their  lov'd  home  and  the  war's  des  -o  -   la  -  tion.Blest  with  vie  -  fry    and 

New  Second  Reader. 


=1 


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T 


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p 


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133 


=1= 


stars  thro*  the  per  -  il  -  ous  fight,  O'er  the  ram-parts  we  watched, were  so 
breeze,  o'er  the    tow-  er  -  ing  steep,      As     it    fit  -    ful  -  ly    blows,    half  con  - 

coun  -  try  they'd  leave  us  no  more?  Their  blood  has  washed  out  their  foul 
peace,  may  the  Ileav'n-rescued    land    Praise  the  Pow'r  that  hath  made  and  pre- 


fc=±=J: 


LS-: 


H 


:zj: 
• 


gal  -  lant  -  ly  stream -ing. 

ceals,    half     dis  -    clos  -    es  ? 

foot  -  steps'  pol  -    lu  -  tion. 

served     us       a  na  -  tion. 


f= 


SE 


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And    the  rock  -  ets'     red     glare,  the  bombs 

Now     it  catch  -  es      the     gleam  of      the 

No              ref  -  uge   could    save  .      .      the 

Then  con  -  quer     we     must,  when  our 


j^fc=pd=l 


burst-ing    in      air,       Gave     proof  thro' the  night  that  our   flag  was  still  there, 
morning's  first  beam,   In  full    glo  -   ry     re  -  fleet  -  ed, now  shines  in    the  stream, 
hire-ling  and  slave   From  the  ter  -  ror  of     flight   or  the  gloom  of   the  grave. 
cause    it      is      just,       And      this     be  our    mot  -  to,  "In    God    is    our  trust." 


Chorus. 


O  .    .  say,       does     that  star  -  span  -  gled  ban  -  ner  yet 

'Tis  the  star  -  span  -  gled  ban    -  ner,  oh  long  may  it 

And  the  star  -  span  -  gled  ban    -  ner  in  tri    -  umph  shall 

And  the  star  -  span  -  gled  ban    -  ner  in  tri    -  umph  shall 


wave 

O'er  the 

land 

of 

the 

wave 

O'er  the 

land 

of 

the 

wave 

O'er  the 

land 

of 

the 

wave 

O'er  the 

land 

of 

the 

New   Second    Reader. 

free  and  the  home  of  the  brave? 

free  and  the  home  of  1  he  brave 

free  and  the  home  of  the  brave 

free  and  the  home  of  the  brave 


I'M 


COME,  THOU   ALMIGHTY   KING. 


Charles  Wesley. 


1.  Come,    Thou 

2.  Come,    Thou 


al 
in 


Felice  Giardini. 


-:1 


-  <s> . 


J 


might 
car 


y  King. 

nate      Word, 


Help 
Gird 


us 
on 


=3=1 


Thy 
Thy 


to      sing,     Help      us       to     praise.      Fa  -  ther   all     glo  -  ri  -  ous, 
y     sword,    Our    prayer  at  -   tend.  Come  and   thy     peo  -  pie  bless, 


O'er   all    vie-  to    -    ri-ous,  Come  and  reign   o  -   ver    us,     An-cientof     days. 
And  give  Thy  word  sue-cess  ;  Spir  -  it     of      ho    -    li  -  ness,  On     us     de  -  scend. 


BATTLE    HYMN   OF   THE  REPUBLIC. 

Jclia  "Ward  Howe. 


1.  Mine     .       eyes        have       seen 
l2.  I         have  seen         Him  in 

3.  I        have  read  a  fier 


the 
the 

y 


glo 
watch 
gos 


4.  lie       has    sound  -    ed  forth         the     trump 


ry 

fires 

pel 

et 


of 
of 

writ 
that 


In 


the     beau    -    ty 


of 


the        lil 


the 

a 

in 

shall 


ies      Christ        was 


com  -  ing  of  the  Lord ;  He  is  tramp-ling  out 
hun  -  dred  cir-cling  camps  ;They  have  build  -  ed  Him 
burnished  rows  of  steel:  "As  ye  deal  with  My 
nev  -  er  call  re- treat;  He  is  sift  -  ing  out 
born      a  -  cross   the   sea,      With   a      glo  -   ry    in 


the  vint  -  age  Avhere  the 
an  al  -  tar  in  the 
con- tem-ners,  so  with 
the  hearts  of  men  be- 
His  bos  -  om    that  trans- 


New  Second  Reader. 


^=$=3*: 


=fc 


=t 


135 


-fee- 


grapes    of  wrath    are  stored  ;  lie  hath  loosed  the   fate  -  ful    light  -  ning  of      His 

even  -  ing  dews  and  damps  ;    I     can  read    His  right-  eons  sen  -  tence  by      the 

you     My  grace  shall  deal :     Let   the  He    -   ro    born    of    worn  -  an   crush  the 

fore     His   judg-ment  seat :     Oh,    be  swift,    my   soul,    to       an-  swer  Him !  be 

fig  -  ures   you    and     me ;     As    He  died      to   make  men     ho   -  ly,     let      us 


fe==: 


2 


P- 


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J 


ter    -    ri  -  ble    swift  sword ;  His  truth 

dim        and  flar  -    ing  lamps:  His  day 

ser  -    pent  with       his  heel,     Sinee  God 

jn    -    hi  -  hint,     my   feet !     Our  God 

die         to    make    men  free,  While  God 


Chorus. 


is  march 
is  march 
is  march 
is  march 
is  march 


ing 
ing 

ing 
ing 
ins: 


on. 
on. 
on. 
on. 
on. 


(Jlo-   ry,  glo  -ry,Hal-le  -  In   -    jah  !       Glo  -   ry,glo  -  ry.IIal- le  -  lu 


jLj_U_^fl 


Glo   -   ry,  glo  -  ry,IIal-le- lu  -   jah!  His  truth      is     march -ing     on. 


New  Second  Reader. 


136 


0   PARADISE. 


Frederick  W.  Faber. 


Joseph  Barnbt. 


Ji^ 


Par 
Par 

Par 


a  -  dise ! 
a  -  dise ! 
a  -  dise ! 


O  Par  -  a  -  dise  !  Who  doth  not  crave  for 
O  Par  -  a  -  dise  !  The  world  is  grow  -  ing 
O       Par  -   a  -  dise  !  Where  -  fore  doth  death     de  • 


Par  -   a  -  dise !     O       Par 


a 


dise !      I         want     to       sin 


no 


±z=t=: 


1^5 


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r&EEr 


rest  ?    Who  would  not  seek  the  hap  ■ 

old ;     Who  would  not     be  at   rest 

lay  ?  Bright  death,  that   is  the   wel  ■ 

more ;      I      want      to     be  as  pure 


py  land,  Where  they  that  loved   are 

and  free, Where  love  is      nev    -  er 

come  dawn  Of      our  e    -   ter  -   nal 

on    earth     As       on  thy    spot  -  less 


:=t 


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PH 


blest  ? 

cold? 

day. 

shore. 


Where 
Where 

Where 
Where 


loy  - 
loy- 
loy  - 
loy  - 


hearts, 
hearts, 
hearts, 
hearts, 


and 
and 
and 
and 


true, 
true, 
true, 
true, 


Stand 
Stand 
Stand 
Stand 


ev 

ev 
ev 
ev 


er 
er 
er 
er 


in 
in 
in 
in 


the 
the 
the 
the 


light,  All    rap  -  ture  thro'   and  thro',   In    God's  most   ho  -  ly   sight.     A  -  men. 


JERUSALEM  THE  GOLDEN. 


Bernard  of  Ciatny. 


Alexander  Ewing. 


-T- 


1 .  Je   -    ru  -   sa  -    lem     the 

2.  They  stand,  those  halls     of 

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many    an        an    -     gel      And      all       the      mar  -  tyr   throng, 
them   that      tri  -    uinph,   The   shout     of      them   that    feast. 


New  Second  Reader. 


137 


I  know  not,  oh,  I  know  not,  What  joys  a  -  Avait  me  there ; 
The  Prince  is  ev  -  er  in  them,  The  day  -  light  is  se  -  rene ; 
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Are      clad      in     robes      of  white. 


PORTUGUESE   HYMN. 


James  Montgomery. 


J.  Reading. 


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feed       in  green  pas    -  hires ;  safe  fold  -  ed         I     rest;      lie  lead  -  eth     my 
fol  -  low    my    steps        till     I      meet   Thee     a  -  bove ;      I     seek      by     the 


soul  where  the  still        wa-ters    flow,  . 
path  which  my   fore     -   fa-thers    trod,  . 


Re    -   stores  me  when  wand'ring,ro  - 
Thro1  the  land      of    their  so-joum,  Thy 


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kingdom  of      love,   Thro1  the  land     of  their    so  -  journ,  Thy  kingdom  of  love. 


New  Second    Reader. 


138 


COLUMBIA,  THE   GEM  OF   THE   OCEAN, 


1).  T.  SITAW. 

Spirited. 


D.  T.  Shaw. 


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8.     'Die     star-span-gled  ban-ner  bring  hith-er,  O'er  Co-lum- bia's  true  sons  let  it 


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lura  -  bia,rode  safe  thro1  the  storm; 
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Thy     man-  dates  make  he  -  roes  as  - 

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New  Second  Reader. 


MARCH  OF  THE  MEN  OF  HARLECH. 


139 


William  Duthie. 


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Strike      for  home,    for   life,    for     glo   -    ry !  Free-dom !   God,     and  Right ! 

Second   Reader, 


140 


PRAISE   THE   LORD. 


Bishop  Richard  Mant. 


Joseph  Haydn. 


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New  Second  Reader. 


HOLY   NIGHT. 


141 


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Christ,     the    Sav  -  ior,     is      born ! 

Je   -  sus,  Lord,    at    Thy     birth! 


New   Second    Reader 


142 


GUIDE   ME,   0  THOU   GREAT  JEHOVAH! 


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mDEX. 


Fagb.  Poet  or  Source.  Composer  or  Sottrce. 

15  Abide  with  Me  ! Henry  Francis  Lyte  .     .      William  Henry  Monk 

125  America S.  F.  Smith Henry  Carey  (?) 

130  A  morica  the  Beautiful Katharine  Lee  Bates .     .     .    Will  C.  Macfar lane 

121  Auld  Lang  Syne Robert  Burns 

13  Autumn 

134  Battle  Hvmn  of  the  Republic  .     .     .     Julia  Ward  Howe 

105  Bees,  The 

41  Bird  is  Sweetly  Singing,  A Franz  Von  Holstein 

126  Blessed  are  the  Merciful     ....     Matthew,  v  :  7 

43  Bobolink,  The 

79  Building Henry  W.  Longfellow 

17  Calm  on  the  Listening  Ear  of  Night      E.  H.  Sears J.  B.  Dykes 

89  Candlemas  Song,  A Robert  Herrick 

61  Carnation,  The Edward  Oxenford Ciro  Pinsuti 

99  Children's  Birthday  Gift,  The F.  Silcher 

138  Columbia,  the  Gem  of  the  Ocean       .     D.  T.  Shaw D.  T.  Shaw 

134  Come,  Thou  Almighty  King     .     .     .     Charles  Wesley Felice  Giardini 

82  Come  to  the  Sunset  Tree     ....     Felicia  Hemans 

118  Cradle  Hymn Isaac  Watts J.  J.  Rousseau 

61  Cradle  Song,  A 

15  Dream  Man,  The 

57  Evening  Hymn Franz  Abt 

97  Evening  Song F.  bilcher 

35  Farewell  to  the  Birds Franz  Abt 

129  Flag  of  the  Free Richard  Wagner 

112  Friendship W.  A.  Mozart 

132  God  Ever  Glorious S.  F.  Smith Alexis  T.  Livoff 

30  Colden  Boat  Song,  The Mrs.  Ormiston  Chant     .      Mrs.  Urmiston  Chant 

86  Golden  Slumbers  Kiss  Your  Eyes 

13  Good-by  to  the  Flowers 

142  Guide  Me,  O  Thou  Great  Jehovah  1  .     Rev.  W.  Williams F.  Harold 

128  Hail,  Columbia! Joseph  Hopkinson Prof.  Phyla 

121  Harp  that  Once  through  Tara's  Halls, 

The Thomas  Moore 

131  Heavenly  Father,  Sovereign  Lord     .     Songs  for  the  Sanctuary      .       Felix  Mendelssohn 
141  Holy  Night Michael  Haydn 

81  How  Pure  the  Peacef  ul  Pleasure Gackstatter 

106  Hush-a-by  Baby C.  11.  Lewis 

78  Hymn  of  Nature John  Austin 

136  Jerusalem  the  Golden Bernard  of  Cluny       ....  Alexander  Ewiny 

101  Little  Clouds Mary  Chater 

55  Little  Snail A.  J.  Fox  well 

124  Long,  Long  Ago T.  II.  Bayly 

79  Lord,  to  Thee  I  Lift  My  Eyes G.  Nakonz  (arr.) 

17  Lullaby Claus  Groth Caroline  Winchern 

N*w  Second  Readar. 

143 


144  INDEX. 

Page.  Poet  or  Source.  Composer  or  Sottrce. 

139  March  of  the  Men  of  Harlech  .     .     .     William  Duthie     .     .     .       Welsh  National  Song 

119  Massa's  in  de  Cold,  Cold  Ground .     .     Stephen  C.  Foster     .     .     .       Stephen  C.  Foster 

58   May Franz  Mair 

91   May  Pole,  The Robert  Herrick 

27  Moon,  The 

28  Morning  Prayer Carl  Reinecke  (arr.) 

34   Morning  Song 

63  Morning  Star,  The Carl  Reinecke 

122  My  Old  Kentucky  Home,  Good  Night     Stephen  C.  Foster     .     .     .     .  Stephen  C.  Foster 

93   Night,  The • 

108   Now  Winter  has  Resumed J.  S. 

71  Now  with  the  Rising,  Golden  Dawn  .     Lyra  Catholica 

120  Oft  in  the  Stilly  Night Thomas  Moore Irish  Melody 

68   Old  English  Carol .     . 

77  Old  King  Cole Nursery  Rhyme 

27   Old  Tempest 

103  O  Mother  Tongue John  Guard E.  S.  Engelsberg 

127  Onward,  Christian  Soldiers      .     .     .  Rev.  S.  Baring-Gould     .    Sir  Arthur  S.  Sullivan 

136  O  Paradise  ! Frederick  W.  Faber       .     .     .       Joseph  Barnby 

105  O  Thou  Who  Kindly  Dost  Provide  .     Robert  Burns 

116  Our  Life  is  like  a  River Felix  Mendelssohn 

33  0,  Why  Should  Life  ? A.  Muhling 

72  O  Ye  Hours Felicia  Hemans 

39  Peaceful  Slumb'ring  on  the  Ocean Stephen  Storace 

95  Picture  Books  in  Winter     ....     Robert  Louis  Stevenson 

137  Portuguese  Hymn James  Montgomery J.  Reading 

140  Praise  the  Lord Bishop  Richard  Mant     ....  Joseph  Haydn 

49   Prayer,  A Robert  Burns 

78  Singing Robert  Louis  Stevenson 

110  Softly  Glide,  Gentle  Night Franz  Abt 

64  Song  Harmonious 

85  Song  of  Birds,  A 

74  Song  of  the  Waves F.  C.  Maker 

22  Sow  in  the  Morn  Thy  Seed J.  S. 

23  Spinning  Song,  A 

60   Stars,  The 

132   Star-Spangled  Banner,  The      .     .     .     Francis  Scott  Key      •    '.     .    Dr.  Samuel  Arnold 
114  Summer Frank  Henrietta Joseph  Haydn 

117  Sweet  and  Low Alfred,  Lord  Tennyson       .     .      Joseph  Barnby 

53  To  the  Nightingale Carl  Reinecke 

62  Up  Yonder  on  the  Mountain Carl  Reinecke 

44  Watchman,  The 

19  When  the  Wind  Blows 

23  Where  the  Blue  Hills  Rise Franz  Mair 

89  Whitsuntide Robert  Herrick 

49  Wind  The Christina  Rossetti      .     .  Mary  Carmichael  (arr.) 

76  Winter  and  Spring J-  Sneddon 

45  Winter  Snow,  The Alfred,  Lord  Tennyson 

37  Winter  Song,  A 


New  Second  Reader. 


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